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Speaker 1: Well, hem, hello.

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Speaker 2: Everyone, welcome to another episode of I Saw What You Did.

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Speaker 3: My name is Milly, I'm Danielle.

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Speaker 2: And we're back. Baby. We're back to talk about movies

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Speaker 2: and other things, but mostly movies. How are you, Danielle.

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Speaker 3: I'm doing well. I just ordered my annual underwear.

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Speaker 2: Wait, annual underwear.

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Speaker 3: It's not what it sounds like, like I get one

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Speaker 3: pair a year.

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Speaker 2: Oh okay, good.

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Speaker 3: It's more like.

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Speaker 1: I decided years ago I was done fucking around, and

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Speaker 1: I'm only buying black cotton bikini underwear. I'm not buying

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Speaker 1: like fucking this matches with that I'm doing this style

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Speaker 1: or that style. No, I'm one style of underwear from

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Speaker 1: this point forward. I decided like seven or years ago.

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Speaker 1: So once a year, I just kind of when I

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Speaker 1: first started, I just bought like twenty pairs of black underwear,

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Speaker 1: and once a year I go through and I just like,

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Speaker 1: you know, I update it. I'm like, do I need

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Speaker 1: a few pairs? Yeah, So I just ordered the same

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Speaker 1: old pair of black underwear.

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Speaker 2: It's great if it works for you, Just keep it going.

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Speaker 1: Just fucking streamline this shit, like, I don't have time

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Speaker 1: to be like impressing anybody with my underwear. It's this

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Speaker 1: is the package is wrapped. This is how it appears,

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Speaker 1: This is how I come right, Like, this is it

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Speaker 1: black underwear? Whatever the fuck bra I can find?

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Speaker 3: This is it?

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Speaker 2: Do people really like go for matching underwear and bra?

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Speaker 2: I always feel like that's a little corny.

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Speaker 1: Is that like a patriarchal thing that I've I've like

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Speaker 1: kind of absorbed.

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Speaker 2: It's possible, But also like I don't know, I feel

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Speaker 2: like maybe for like a speci a cage, if you're

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Speaker 2: really feeling yourself, go to like Asian provocateur and get

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Speaker 2: yourself on a nice little set. But like every day

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Speaker 2: matching braun underwear also I.

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Speaker 1: Feel like, yeah, and also buy that stuff if it

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Speaker 1: feels good to you. I'm done trying to impress people

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Speaker 1: with underwear. Basically, like, if you are the kind of

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Speaker 1: person who like feels good in lingerie, knock yourself out.

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Speaker 1: I feel like I'm being strangled by very weak doilies.

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Speaker 3: If you love it, knock yourself out.

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Speaker 1: But I don't, so I'm just keeping it clean from

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Speaker 1: here on out.

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Speaker 2: I think a lot of this also is about sort

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Speaker 2: of the options that are available to women who have

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Speaker 2: large chess. Yes that has always like, so it always

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Speaker 2: felt like the cutesy whoopsie bras were really for people

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Speaker 2: that had smaller chests. And then anything that was over

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Speaker 2: like a sea cut meant that you had to go

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Speaker 2: like more tactical, yes, and not cute. So then you

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Speaker 2: get into the like you know, the act actual hooks,

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Speaker 2: and it just felt like more tactical and substantial. It

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Speaker 2: kind of deviated from the cute side of the spectrum

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Speaker 2: and just got into like, yes, what is going to

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Speaker 2: hold them shits in place? And I don't care how

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Speaker 2: ugly it is?

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Speaker 1: Oh yeah, the names of the company say it all.

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Speaker 1: It's like the cute ones are like Cosabella and the

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Speaker 1: tactical ones are.

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Speaker 3: Like maiden Form. I don't keep.

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Speaker 2: The shit sight. Yeah, Like I'm fully on the search

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Speaker 2: for like the fucking Janet ly from psychobras that are

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Speaker 2: like huge and structured and like are not flimsy and

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Speaker 2: dainty and made of like twigs. And it has to

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Speaker 2: be like the raw materials have to be really good, right,

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Speaker 2: like the way that they used to be in the fifties.

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Speaker 1: Yes, the raw materials were way more structure and hotter naturally,

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Speaker 1: but they were way more stng ructured because it's like,

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Speaker 1: here is some burlap, Like here, we're gonna put this

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Speaker 1: between the cushions of the bra so that we know

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Speaker 1: it'll stand up on its own.

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Speaker 3: Basically, that's what I'm about.

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Speaker 1: Because here's the other thing that gets me whenever I

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Speaker 1: have targeted ads on Instagram, and it's always a bra

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Speaker 1: company that's like, we've disrupted the bra industry.

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Speaker 3: And we now cater to h cups.

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Speaker 1: And then you go to the site and it's like

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Speaker 1: you're still thirty two band, Like, what is like a

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Speaker 1: thirty two h That's where we're at.

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Speaker 3: That's what's revolutionary. Here.

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Speaker 2: Come back to me, goddamn dream exactly.

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Speaker 1: Please come back to me when you're hitting the sixties,

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Speaker 1: like when your BRA's are ready to retire.

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Speaker 3: Those are the numbers I need.

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Speaker 2: Yeah. Well, and that's the other thing too, is that

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Speaker 2: they say they go up to an age, but then

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Speaker 2: when you get to the site, everything is sold out

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Speaker 2: except for one bra and it's usually in like a

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Speaker 2: tan color and it's the ugliest bra on the site.

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Speaker 3: It's the band aid bra.

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Speaker 2: Yeah, it's the one that they have in your actual size.

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Speaker 2: But if you're a thirty two A.

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Speaker 1: Oh, the world is yours. Yeah, they get the yeah,

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Speaker 1: and I'm that's I think. The part that really bothers

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Speaker 1: me is that there's so many companies that are like,

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Speaker 1: we got you, Like we go up to plus size,

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Speaker 1: we go up to the big Cup, and then they're

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Speaker 1: technically not lying because they do sell that band aid

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Speaker 1: bra but that's it.

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Speaker 3: It's like the one ugly band aid color bra. Is it?

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Speaker 2: Also, I have to tell you this story because I

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Speaker 2: was talking. So, you know, our friend Shallewa who lives

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Speaker 2: in New York. I'm on this like I don't know

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Speaker 2: if anybody this might be an app for simply old people,

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Speaker 2: but it's this app called Marco Polo, which is essentially

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Speaker 2: like video texts. I don't know how else to say it.

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Speaker 2: Like basically, it's like if you want to make a

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Speaker 2: short little video for your friend and pass them back

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Speaker 2: and forth for infinity, that's Marco Polo is your app.

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Speaker 2: The only people that I know on it are like

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Speaker 2: me and my friends, So I'm not sure if it's

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Speaker 2: like cool, but that's how I've been communicating through quarantine, right.

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Speaker 2: So we were on this Marco Polo group with like

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Speaker 2: a bunch of other of our friends but they were

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Speaker 2: talking about So I just ordered from Savage Fenti, which

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Speaker 2: is the Rihanna's lingerie company. Okay, so there was a

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Speaker 2: moment because I ordered this bralette, which, by the way, braletts.

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Speaker 1: Also a scam if you have any heft, If you

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Speaker 1: have any heft in your chest, everything gets swallowed, even

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Speaker 1: the let part of the bralett.

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Speaker 3: It's a scam.

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Speaker 1: Everything's riding up right into those creases. You can't get

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Speaker 1: me on a brolet.

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Speaker 2: The only time I've been a bralett is truly what

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Speaker 2: I'm like the hour before bed, just like I need

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Speaker 2: to have something holding them. But I'm not going anywhere

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Speaker 2: because it's not a functional bra No.

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Speaker 1: It's not functional because the bralette part, like you know,

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Speaker 1: that band is not saying place, it's not sand flat.

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Speaker 1: It's basically like you just have a thicker and underneath

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Speaker 1: because it all just rolls up.

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Speaker 2: Yeah, And so I got this bralet that Okay. There's

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Speaker 2: this disconnect that happens between what I think I can

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Speaker 2: wear and look cut in and what I actually look

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Speaker 2: cute in. Okay, and a lot of it is based

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Speaker 2: on sort of looks and styles. So I was like,

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Speaker 2: on the Savage Fency website, going, can I pull off

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Speaker 2: this like butterfly Ryanstone bralett? Okay, I have never fucked

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Speaker 2: with rhyanstones or butterflies in my wardrobe pretty much ever.

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Speaker 2: Unless I was like at a costume party or if

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Speaker 2: it was Halloween, I might throw a rhinestone in there,

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Speaker 2: but it's not my everyday look. Butterflies especially are not

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Speaker 2: my everyday look. I can't imagine a time wherever wore

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Speaker 2: a butterfly thing, and I include elementary s.

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Speaker 1: I was gonna say, I've seen pictures of you from

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Speaker 1: when you were a little kid, not even then.

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Speaker 2: No, I was dressing like a little boy anyway. So

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Speaker 2: it was like, I'm not never a butterfly goal, never

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Speaker 2: a butterfly ga. So I go on this website and

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Speaker 2: I basically order this bra lett that I was like,

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Speaker 2: maybe I can pull that off. I don't know what

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Speaker 2: look that is, but I'm young and I'm trendy. I'll

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Speaker 2: buy it and see what happens. So I put this

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Speaker 2: bra let on and this thing is real skimpy in

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Speaker 2: the cup where I was like, this bra isn't small, right,

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Speaker 2: this is literally the look. The look is having three

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Speaker 2: fourths of your boob sagging over the cup of this

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Speaker 2: brawl at and I was like, this is a damn look,

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Speaker 2: isn't it. I'm like, I'm like, this is what they're

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Speaker 2: doing now. They don't even want coverage. It's literally just

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Speaker 2: like two tiny triangles with butterflies and rhinestones on them,

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Speaker 2: and then there's no, it's barely covering your nipple. And

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Speaker 2: I'm going, this is a look.

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Speaker 3: You got tricked into a trend.

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Speaker 2: Yes, And I don't know this because I'm buying tactical

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Speaker 2: fifties Grandma bras. And then the minute I walk out

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Speaker 2: of that, I'm like, no, this is what the women

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Speaker 2: are actually doing. They're wearing butterfly brawlets that are literally

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Speaker 2: not doing a damn thing but looking cute.

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Speaker 1: I would be furious if I opened that and try

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Speaker 1: to put that on my body and had that experience,

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Speaker 1: because again, with trends, this is where they always get me.

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Speaker 1: This is the thing I'm trying to avoid. I don't

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Speaker 1: wear your modern makeup because I don't want to look sweaty,

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Speaker 1: and I'm not buying your modern bras because I actually

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Speaker 1: want my kids to stay in whatever I'm putting them in.

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Speaker 1: I don't just want the discomfort of the straps with

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Speaker 1: no support, like, that's.

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Speaker 3: Not where I'm at.

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Speaker 2: I was like, I can't even wear this land around

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Speaker 2: plant animal crossing, no, no, no, what this is. And so

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Speaker 2: that's why I was. I get on the Marco Polo

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Speaker 2: and I'm like, chilehwah, you're out there in these streets

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Speaker 2: like you're a comic. You hang out with a lot

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Speaker 2: of young people. Are the young people wearing these like

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Speaker 2: skimpy dimpy bralettes? And She's just like, yeah, I think, so,

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Speaker 2: oh my god, return everything right now.

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Speaker 1: And look, more power to you, but fool me once.

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Speaker 1: I'm not going down this road again. This is what's up.

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Speaker 1: Get your black underwear for the year. Also, do the

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Speaker 1: same for your bras. I'm not fucking around anymore. I

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Speaker 1: don't care you've come out with the new revolutionary whatever.

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Speaker 1: I'm not going to be around to find out again.

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Speaker 1: I feel like the gift is not the wrapping. If

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Speaker 1: you want the goods, you'll get whatever.

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Speaker 3: Package they come in. That's not the gift.

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Speaker 1: And if I'm doing it for myself, I'm basically wearing

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Speaker 1: like a T shirt with hooks on it.

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Speaker 2: Listen, that style of buying underwear once a year and

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Speaker 2: buying like twenty pairs the same is. My dad has

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Speaker 2: been doing this forever and I never understood that. I

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Speaker 2: was like, why are you always like every time for Christmas,

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Speaker 2: it's like, get me these socks, get me these T shirts,

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Speaker 2: and I want them like ten to a pack, and

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Speaker 2: they're always like some real basic like guil Dan. You

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Speaker 2: can get them on Amazon for like seven dollars or something.

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Speaker 2: And it's just sort of.

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Speaker 3: Like he's military.

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Speaker 1: He's military though, like he's like used to that, right, yeah,

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Speaker 1: that is I'm taking them. Talking speaking of tactical under

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Speaker 1: I'm taking a militaristic viewpoint to my undergarments until the

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Speaker 1: day I die.

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Speaker 3: It will always be in good shape.

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Speaker 1: I'm not about to have some raggedy underwear around or

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Speaker 1: raggedy ras. They will be new and useful, but it

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Speaker 1: will all be the same. You can take a picture

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Speaker 1: of me right now, take another picture of me when

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Speaker 1: I'm ninety five, and you'll be like, this bitch stays

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Speaker 1: in a black broad under air.

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Speaker 3: Yes, I do.

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Speaker 2: Listen. It's timeless, especially in black, like it's just sort

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Speaker 2: of like you can't really tell if it's getting nasty

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Speaker 2: in there. It's just sort of like a black raw

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Speaker 2: like you're like, oh, oh, the only way I know

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Speaker 2: it's truly old is if the hooks just fall off.

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Speaker 2: That's all I know.

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Speaker 3: It was getting nasty in there. Yeah, I'm like, I'm

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Speaker 3: low maintenance.

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Speaker 1: I have so much more going on in my life

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Speaker 1: than having to take care of hand washing.

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Speaker 3: Get out of here, I know.

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Speaker 2: Ah God, that fools me every time because I'm a

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Speaker 2: hand washer for like two weeks and then after that's over,

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Speaker 2: it's all going in this. It's like one big load

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Speaker 2: in the washing machine with like a bunch of like

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Speaker 2: towels and blankets.

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Speaker 1: Oh yeah, it's gonna come out wrapped around a towel

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Speaker 1: and like, please, I'm not hand washing anything. I did

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Speaker 1: get a lingerie bag, which is like a little net bag.

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Speaker 1: Yeah I have that too, And even that I forget

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Speaker 1: most of the time, Like I just I can't.

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Speaker 3: It's just let's low maintenance this out.

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Speaker 1: Let's make low maintenance sexy, Like, let's make that the

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Speaker 1: thing where it's like, oh my god, you remember we

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Speaker 1: used to wear those fucking triangle rhinestone butterfly shits and

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Speaker 1: then you're.

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Speaker 3: Like, now look at us, and it's like a fucking

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Speaker 3: bra up to.

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Speaker 1: Your neck, like, look at the neck, look at the back,

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Speaker 1: let's make that the thing.

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Speaker 2: Quite honestly, my closet is like that though. If I

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Speaker 2: look through my closet, I'm like, okay, I have the

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Speaker 2: same four plaid flannels and the same like jeans or

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Speaker 2: black leggings. And then something fucking insane that I bought

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Speaker 2: that I've never worn in my entire life, and it

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Speaker 2: was the butterfly rhymestone's effect. It was literally like me going,

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Speaker 2: oh shit, like I could definitely wear that cute ass

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Speaker 2: like wool jumpsuit with like three hundred pockets and a

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Speaker 2: zipper and a fanny pack that's built into the thing

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Speaker 2: like some crazy stylish piece, and it I buy it,

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Speaker 2: and then I kind of aspire to it for like

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Speaker 2: two months, and then I never touch it.

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Speaker 1: This is why I don't buy anything fancy or upscale.

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Speaker 1: I had to buy something to go to the Writer's

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Speaker 1: Awards one year, and I'm like, I don't own a suit,

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Speaker 1: like I don't own anything.

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Speaker 3: So I went out and bought like.

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Speaker 1: A blazer in a suit and a jumpsuit and of this,

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Speaker 1: and I tried all the shit out and then I

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Speaker 1: was like, you know what, for one day, maybe I'll

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Speaker 1: buy a pair of like nice jeans. I'm wearing whatever

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Speaker 1: fucking blazer I have. I'm not doing this shit anymore.

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Speaker 1: I'm not buying special underwear for one outfit. I'm not

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Speaker 1: going to look in my closet at stuff that I

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Speaker 1: wore once or not at all, Like it's not how

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Speaker 1: it is. My closet is so limited. I did prioritize

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Speaker 1: in quarantine. I did this a couple of weeks ago.

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Speaker 1: I hung all my hoodies and moved them up on

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Speaker 1: the shelf that I used the most, like I finally

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Speaker 1: just gave.

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Speaker 3: Up the ghost there.

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Speaker 1: But yeah, I'm not doing it, man, I'm not about it,

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Speaker 1: I hear you.

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Speaker 2: I mean, especially now, especially like after so much time

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Speaker 2: has passed where we just haven't had a reason to

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Speaker 2: like put on a dress or any goddamn thing like that.

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Speaker 2: So basically, when I, you know, I was in LA

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Speaker 2: I moved out of my apartment and put all my

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Speaker 2: stuff in storage because I was like, things are weird

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Speaker 2: right now. I really don't know when the next time

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Speaker 2: I'm coming back to this place, Like, let me just

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Speaker 2: put all this stuff in storage and figure it out later.

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Speaker 2: So when I was going through my clothes, I was like, oh,

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Speaker 2: what do I don't need to bring anything that is

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Speaker 2: structured or isn't sweatpants. I'm just gonna put all this

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Speaker 2: stuff because I actually do have a few, like dresses

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Speaker 2: and stuff that I've worn a film festival and you

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Speaker 2: know that kind of stuff. So I'm just sort of like,

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Speaker 2: you know, I have that stuff. But it's like I

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Speaker 2: just thought, there's no reason for me to drive it

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Speaker 2: across the country. I'll just pack it and see it

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Speaker 2: after the vaccine happens, right, see you later. But now

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Speaker 2: I'm like, wow, Like what am I ever gonna wear

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Speaker 2: a dress again? Like? Do I have to have to

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Speaker 2: wear like pantyhose again? What you know putting on a

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Speaker 2: pair of pumps. I'll just wear crocs to fucking my wedding.

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Speaker 2: I don't care, you know what I mean. It's just crazy.

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Speaker 1: Look that's a look that you could absolutely rocket. I

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00:16:01,120 --> 00:16:05,520
Speaker 1: will be there cheering you on the whole time. We

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Speaker 1: are not about it. I've got I did go a

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Speaker 1: little bit bonkers because I do like a I don't

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Speaker 1: love like, I'm not a shoe person, per se. Hang on,

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Speaker 1: all right, So basically they're like this but they're like

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Speaker 1: a yellow suede.

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Speaker 2: Oh yeah, So.

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Speaker 1: I got a pair of those, and I'm like, one

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00:16:21,000 --> 00:16:25,360
Speaker 1: day I'll wear those. That's fine, clog like a clow clog.

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Speaker 1: The rest of it, it's all like, give me a

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Speaker 1: Chelsea boot, I'm good. Give me a like one sandal,

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Speaker 1: like one sandal for everything, A neutral sandle, a neutral boot.

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Speaker 3: I'm good.

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Speaker 2: Yeah. At this point right now, speaking of tactical, all

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Speaker 2: my shoes are tactical.

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Speaker 3: Yeah.

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Speaker 2: I basically go to ARII and just buy shoes. I

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00:16:44,200 --> 00:16:47,720
Speaker 2: don't even care what the event is. I'm like, I

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Speaker 2: need them to be very comfortable. I need them to

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Speaker 2: have like some kind of trail running slash, comfort zone,

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Speaker 2: a comfort zone or whatever, like in a shoe.

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Speaker 3: You know what I love? I love could it a

334
00:17:00,400 --> 00:17:02,560
Speaker 3: shoe and saying could I outrun a bear in these?

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Speaker 3: You fucking no, that's the shoe for me.

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00:17:07,720 --> 00:17:10,840
Speaker 1: Could I outrun a horse that's trampling through my gate

337
00:17:10,880 --> 00:17:13,800
Speaker 1: at my camp yard or a wily raccoon?

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Speaker 3: You know?

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00:17:14,640 --> 00:17:17,520
Speaker 2: It's like remember like I used to just wear flats

340
00:17:17,560 --> 00:17:21,680
Speaker 2: from like old Navy, Yeah, when I was in high

341
00:17:21,720 --> 00:17:26,399
Speaker 2: school or college, and I'm like, wow, no comfort whatsoever?

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00:17:26,800 --> 00:17:27,840
Speaker 2: That must be crazy.

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Speaker 3: No arch support. I mean, our support is where we

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Speaker 3: start with a shoe.

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Speaker 1: Give me some arch support, and then we can talk

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00:17:33,320 --> 00:17:35,160
Speaker 1: about whatever's going on with the heel and the toe

347
00:17:35,160 --> 00:17:35,720
Speaker 1: and all that shit.

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Speaker 3: I just can't. I can't.

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Speaker 2: Honestly, I'm very close to buying two bricks of memory

350
00:17:41,160 --> 00:17:44,640
Speaker 2: foam end up taping them to my feet, like I'll

351
00:17:44,680 --> 00:17:47,280
Speaker 2: just be like a new Howard Hues or something. I'm

352
00:17:47,280 --> 00:17:55,200
Speaker 2: just gonna wear duct tape every phone. Baby, I'm real close.

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Speaker 1: Let's go with the mail bag before we just truly

354
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Speaker 1: talk ourselves into never being able to leave the house

355
00:18:01,440 --> 00:18:02,680
Speaker 1: again because we're feral.

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Speaker 2: Our mail bag is totally insane right now, and it's

357
00:18:10,440 --> 00:18:15,320
Speaker 2: because of the episode from two weeks ago where we

358
00:18:15,359 --> 00:18:19,480
Speaker 2: talked about Jurassic Park with Stephen Ray Morris. That lit

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Speaker 2: a fuse.

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Speaker 1: I mean, the emails have never flown in so solidly,

361
00:18:24,440 --> 00:18:27,159
Speaker 1: and like all day. It was a solid flow of

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Speaker 1: emails all day per day.

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Speaker 2: Like, what's the vibe of these emails, Daniel, are they like?

364
00:18:32,600 --> 00:18:34,359
Speaker 2: Maybe read a couple of them and see if we

365
00:18:34,400 --> 00:18:38,280
Speaker 2: can figure out what do people think about what genre,

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Speaker 2: what Jurassic Park is in.

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00:18:40,560 --> 00:18:43,520
Speaker 1: To their credit? And I gotta say I'm in agreeance

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Speaker 1: with them. Stephen Ray Morris, our beautiful, lovely first guest,

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00:18:47,640 --> 00:18:49,520
Speaker 1: kind of dropped a bomb at the end that I

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00:18:49,520 --> 00:18:52,359
Speaker 1: don't think that we caught, which is that dinosaurs and

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Speaker 1: humans did not live together at the same time, which

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00:18:57,320 --> 00:19:00,919
Speaker 1: knocks that argument down to size instant right, nips it

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Speaker 1: in the bud. So most people were definitely saying, like Tammy,

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Speaker 1: she said, definitely action adventure, Michelle said.

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Speaker 2: Michelle really went in loves a capitalization.

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Speaker 1: Make that point. So she says, Jurassic Park takes place

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00:19:19,960 --> 00:19:24,600
Speaker 1: present day. Therefore, how is it historical? Most of us

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00:19:24,600 --> 00:19:27,719
Speaker 1: who have seen this film are likely still living next

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00:19:27,920 --> 00:19:31,200
Speaker 1: I concur with Stephen, dinosaurs and humans have never lived

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Speaker 1: together at the same time.

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00:19:32,640 --> 00:19:37,960
Speaker 3: Again, how is this historical? Michelle on it.

382
00:19:38,680 --> 00:19:42,120
Speaker 1: She's like, I just cannot support Like this is the

383
00:19:42,160 --> 00:19:45,040
Speaker 1: only point you need to understand.

384
00:19:45,600 --> 00:19:49,679
Speaker 3: How this argument is so easy so true?

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00:19:50,720 --> 00:19:55,400
Speaker 1: Oh goodness, there's another one that is from Gabby. Gabby says,

386
00:19:55,440 --> 00:19:57,920
Speaker 1: I agree that there are horrific elements with so many

387
00:19:57,960 --> 00:20:01,960
Speaker 1: movies use dashes of other genres to help strengthen the

388
00:20:02,040 --> 00:20:05,120
Speaker 1: overall movie they're creating. I do not agree that it's

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00:20:05,200 --> 00:20:08,840
Speaker 1: historical maybe as a subtag or genre, but if I

390
00:20:08,920 --> 00:20:12,160
Speaker 1: have to quick label it, it wouldn't be that.

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00:20:12,520 --> 00:20:16,720
Speaker 2: Okay. Honestly, when we read Shannon's letter initially on the

392
00:20:16,760 --> 00:20:21,280
Speaker 2: show with Steven, we were talking it out, Okay, So

393
00:20:21,280 --> 00:20:23,879
Speaker 2: we were presenting we basically did the thing where you

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00:20:23,920 --> 00:20:27,119
Speaker 2: gather all the research, like all of the stuff. You know,

395
00:20:27,160 --> 00:20:29,320
Speaker 2: how they're in grad school, They're like, gather all the

396
00:20:29,400 --> 00:20:33,280
Speaker 2: research first and then do the evaluation once you get

397
00:20:33,320 --> 00:20:35,800
Speaker 2: all of the So we were talking it all out right,

398
00:20:36,040 --> 00:20:37,639
Speaker 2: and so I guess there was a moment where we

399
00:20:37,640 --> 00:20:39,360
Speaker 2: were like, yeah, maybe it could be maybe it could

400
00:20:39,400 --> 00:20:44,240
Speaker 2: be that. But then ultimately Steven did provide the back

401
00:20:44,280 --> 00:20:47,480
Speaker 2: to reality moment, which is that dinosaurs and humans did

402
00:20:47,520 --> 00:20:50,520
Speaker 2: not live at the same time, so we would never

403
00:20:50,680 --> 00:20:55,560
Speaker 2: know technically if it was history because we never were

404
00:20:55,560 --> 00:20:57,399
Speaker 2: there for it. The only way we know its history

405
00:20:57,440 --> 00:21:01,159
Speaker 2: is because of fossils and you know, scientific research or something.

406
00:21:01,240 --> 00:21:03,320
Speaker 2: But we don't have one human on this earth that side.

407
00:21:03,359 --> 00:21:05,359
Speaker 2: I was there. They were cool.

408
00:21:06,240 --> 00:21:09,679
Speaker 1: And also, I'm not even gonna front I did not

409
00:21:09,840 --> 00:21:11,720
Speaker 1: know that because I grew up watching the Land of

410
00:21:11,760 --> 00:21:14,280
Speaker 1: the Lost and I thought that humans and dinosaurs one

411
00:21:14,320 --> 00:21:21,840
Speaker 1: hundred chilled out together a what There's nothing pop culturally

412
00:21:22,920 --> 00:21:25,119
Speaker 1: to prevent me from thinking that. And I never like

413
00:21:25,200 --> 00:21:27,920
Speaker 1: studied dinosaurs, Like I liked the little bones and museums

414
00:21:27,920 --> 00:21:30,320
Speaker 1: and stuff, but I didn't look. I don't know that

415
00:21:30,400 --> 00:21:33,560
Speaker 1: Leonardo DiCaprio is Italian. I did not know that dinosaurs

416
00:21:33,600 --> 00:21:37,080
Speaker 1: and humans didn't exist at the same time. I'm revealing

417
00:21:37,080 --> 00:21:39,960
Speaker 1: my vulnerabilities to you every week, and by the end

418
00:21:40,040 --> 00:21:43,280
Speaker 1: of this series, you're gonna realize I'm an idiot.

419
00:21:44,280 --> 00:21:49,560
Speaker 2: You know, for somebody that can quote Shakespeare say the

420
00:21:49,600 --> 00:21:53,000
Speaker 2: States in twenty three seconds, do you think that maybe

421
00:21:53,040 --> 00:21:56,000
Speaker 2: you would know something about dinosaurs and humans not existing

422
00:21:56,040 --> 00:21:56,640
Speaker 2: at the same time.

423
00:21:56,760 --> 00:21:59,800
Speaker 1: Not a fucking thing that blew me away. I was like,

424
00:22:00,760 --> 00:22:02,720
Speaker 1: maybe I should have clocked that earlier. We wouldn't even

425
00:22:02,760 --> 00:22:04,040
Speaker 1: have this question on a show.

426
00:22:04,800 --> 00:22:06,920
Speaker 2: But so I guess now The point is is that

427
00:22:06,960 --> 00:22:13,520
Speaker 2: Shannon's fiance is super duper fucking wrong. Yeah, Like she

428
00:22:13,680 --> 00:22:16,000
Speaker 2: was like, I just can't even with that answer, and

429
00:22:16,040 --> 00:22:17,600
Speaker 2: maybe she truly can't even.

430
00:22:17,840 --> 00:22:20,280
Speaker 1: And now you have the backup and the proof that

431
00:22:20,320 --> 00:22:25,040
Speaker 1: you don't even have to try with that answer. That's

432
00:22:25,040 --> 00:22:27,399
Speaker 1: what I think is that this reinforces the fact that

433
00:22:27,480 --> 00:22:31,600
Speaker 1: your fiance could not be more wrong, and that I

434
00:22:31,680 --> 00:22:35,240
Speaker 1: need to take a kindergarten course on dinosaurs basically.

435
00:22:35,320 --> 00:22:37,480
Speaker 2: So here's speaking of science.

436
00:22:37,680 --> 00:22:38,000
Speaker 3: Okay.

437
00:22:38,920 --> 00:22:43,000
Speaker 2: There was another part of that episode where apparently I

438
00:22:43,080 --> 00:22:46,399
Speaker 2: was in a podcast stupor so I barely remember what

439
00:22:46,440 --> 00:22:50,720
Speaker 2: we talked about, but I did mention TSS, Yes you did,

440
00:22:50,840 --> 00:22:56,800
Speaker 2: which is toxic shock syndrome. And we questioned whether or

441
00:22:56,840 --> 00:22:58,919
Speaker 2: not it had gone away because it was clearly a

442
00:22:58,920 --> 00:23:01,199
Speaker 2: big moment for both of our childhoods in like the

443
00:23:01,240 --> 00:23:03,680
Speaker 2: eighties and nineties, but then no one talks about it anymore.

444
00:23:04,359 --> 00:23:08,760
Speaker 2: So our listener Amanda wrote in and she mentioned that

445
00:23:08,880 --> 00:23:11,200
Speaker 2: right before COVID, she was at a doctor's office reading

446
00:23:11,280 --> 00:23:15,359
Speaker 2: Prevention magazine, which I also didn't realize was still around,

447
00:23:15,680 --> 00:23:20,119
Speaker 2: but whatever, and she said there was a story in

448
00:23:20,160 --> 00:23:24,560
Speaker 2: there about a woman who had tox six shock syndrome

449
00:23:25,440 --> 00:23:29,360
Speaker 2: in the issue was from May of two, tenty nineteen,

450
00:23:29,640 --> 00:23:32,120
Speaker 2: and she had both of her legs amputated.

451
00:23:32,359 --> 00:23:35,080
Speaker 3: Yeah, it's a model, a model named Lauren Wasser.

452
00:23:35,400 --> 00:23:38,600
Speaker 2: Oh my god, that is cray Z.

453
00:23:39,280 --> 00:23:39,520
Speaker 3: Yeah.

454
00:23:39,520 --> 00:23:42,800
Speaker 1: And then also, I mean Amanda has a daughter and

455
00:23:43,119 --> 00:23:46,560
Speaker 1: went home. Apparently the email goes on to say, you

456
00:23:46,600 --> 00:23:48,159
Speaker 1: better believe that. When I got home there was a

457
00:23:48,200 --> 00:23:51,600
Speaker 1: renewed discussion about tampons and making sure you're always changing

458
00:23:51,600 --> 00:23:52,880
Speaker 1: them in a timely fashion.

459
00:23:53,200 --> 00:23:55,240
Speaker 2: Oh my god, no kidding, And.

460
00:23:55,160 --> 00:23:57,399
Speaker 1: Now we know why. Also, I love this subject of

461
00:23:57,440 --> 00:23:59,760
Speaker 1: this email. It's TSS and recipes.

462
00:24:00,000 --> 00:24:03,959
Speaker 2: I know because at the bottom of the email, what

463
00:24:04,000 --> 00:24:08,040
Speaker 2: does she have? She has a recipe that was cut

464
00:24:08,080 --> 00:24:12,280
Speaker 2: from a plastic bag of chocolate chips, taped to two

465
00:24:13,040 --> 00:24:14,119
Speaker 2: at index card.

466
00:24:15,920 --> 00:24:19,640
Speaker 1: Oh, Amanda says, I clipped this motherfucker off the back

467
00:24:19,680 --> 00:24:22,040
Speaker 1: of a chocolate chip bag about twenty years ago, and

468
00:24:22,119 --> 00:24:23,879
Speaker 1: it is still in my recipe book.

469
00:24:24,000 --> 00:24:27,919
Speaker 3: And Amanda, whodos because Millie you need it. You needed

470
00:24:27,920 --> 00:24:28,800
Speaker 3: that vote of support.

471
00:24:29,000 --> 00:24:31,120
Speaker 1: You've been getting some shit from people about your your

472
00:24:31,160 --> 00:24:34,000
Speaker 1: stance on recipes being necessary.

473
00:24:34,440 --> 00:24:37,080
Speaker 2: She mentioned it was twenty years ago. I'm just saying

474
00:24:37,080 --> 00:24:40,480
Speaker 2: it was twenty years ago. Today, you know, I would

475
00:24:41,080 --> 00:24:46,560
Speaker 2: love to see somebody today clipping a plastic recipe from

476
00:24:46,560 --> 00:24:50,520
Speaker 2: a bag and taping it to an index card, but

477
00:24:50,640 --> 00:24:54,639
Speaker 2: obviously not staged for the internet. I want somebody catching

478
00:24:54,680 --> 00:24:57,840
Speaker 2: somebody in the act. If you're if you if you

479
00:24:58,040 --> 00:25:01,760
Speaker 2: have some kind of like TA footage of somebody clipping

480
00:25:01,800 --> 00:25:04,240
Speaker 2: a recipe from a plastic bag. You can email us

481
00:25:05,000 --> 00:25:06,760
Speaker 2: I saw what you did pot at gmail dot com

482
00:25:06,760 --> 00:25:09,960
Speaker 2: because I would I need that footage. I need, I

483
00:25:10,080 --> 00:25:11,960
Speaker 2: need it. But yeah, a lot of a lot of

484
00:25:12,000 --> 00:25:15,200
Speaker 2: recipe talk, which is funny. This is like the second

485
00:25:15,240 --> 00:25:18,040
Speaker 2: time that recipes have come up in this podcast because

486
00:25:18,440 --> 00:25:21,359
Speaker 2: the Turner recipes. Yeah, people love said the recipes, and

487
00:25:21,400 --> 00:25:27,560
Speaker 2: there's a we have to shout this out finally because honestly,

488
00:25:27,600 --> 00:25:30,840
Speaker 2: this is the cutest thing I've ever seen. And I

489
00:25:30,960 --> 00:25:35,600
Speaker 2: was reading and this is coming from somebody who is

490
00:25:35,640 --> 00:25:38,119
Speaker 2: not as much of an appreciator of the arts and

491
00:25:38,160 --> 00:25:40,880
Speaker 2: crafts as Danielle is. So, Danielle, why don't you reveal

492
00:25:41,320 --> 00:25:43,880
Speaker 2: what one of our listeners sent.

493
00:25:44,400 --> 00:25:50,840
Speaker 1: One of our listeners, Hannah, who is so kind, sent

494
00:25:51,520 --> 00:25:56,360
Speaker 1: a photo of a cross stitch that looks so gorgeous.

495
00:25:56,359 --> 00:25:59,000
Speaker 1: We're gonna post it on our Instagram account. It looks

496
00:25:59,440 --> 00:26:04,719
Speaker 1: so beautiful. It is a floral motif and Hannah stitched

497
00:26:04,720 --> 00:26:09,359
Speaker 1: out very nicely carry a knife cut his throat. It

498
00:26:09,480 --> 00:26:13,680
Speaker 1: is gorgeous. I want, very very kindly asked to send

499
00:26:13,680 --> 00:26:15,760
Speaker 1: it to us. I think Taren is going to be

500
00:26:15,800 --> 00:26:18,960
Speaker 1: in contact with you. About that. But it is the

501
00:26:19,080 --> 00:26:21,439
Speaker 1: nicest thing I've ever seen. I am a cross stitcher.

502
00:26:21,480 --> 00:26:23,879
Speaker 1: I do cross stitch and knitting and crocheting and a

503
00:26:23,880 --> 00:26:26,439
Speaker 1: bunch of fiber crafts, and I can tell you that

504
00:26:26,520 --> 00:26:29,240
Speaker 1: this is a quality piece, y'all. This took some time

505
00:26:29,320 --> 00:26:32,280
Speaker 1: and attention and care and it is gorgeous.

506
00:26:32,440 --> 00:26:37,560
Speaker 2: Yeah, it is awesome. So according to Hannah, the design

507
00:26:38,440 --> 00:26:42,560
Speaker 2: credit goes to Sassy Stitch Boutique and they're a big

508
00:26:42,600 --> 00:26:45,960
Speaker 2: exactly right fan, So that's awesome. This is so nice.

509
00:26:46,000 --> 00:26:49,560
Speaker 2: I mean it looks like some rifle paper company, like

510
00:26:49,800 --> 00:26:53,080
Speaker 2: fancy design. I mean, it couldn't have taken five minutes,

511
00:26:53,200 --> 00:26:54,359
Speaker 2: is all I'm saying, which is no.

512
00:26:55,240 --> 00:26:57,240
Speaker 1: I think that Hannah's been working on this since the

513
00:26:57,280 --> 00:27:00,800
Speaker 1: first episode dropped, like it's been a months long, if

514
00:27:00,800 --> 00:27:04,000
Speaker 1: I had to guess. But thank you so much. My

515
00:27:04,040 --> 00:27:07,880
Speaker 1: grandmother is going to be thrilled. We are thrilled, and

516
00:27:08,000 --> 00:27:12,480
Speaker 1: I genuinely cannot believe that her truly maniacal advice is

517
00:27:12,680 --> 00:27:14,000
Speaker 1: hitting y'all so hard.

518
00:27:14,240 --> 00:27:16,320
Speaker 2: I love it. I love it so much. But if

519
00:27:16,320 --> 00:27:18,159
Speaker 2: you have an email for us, you can send it

520
00:27:18,160 --> 00:27:19,960
Speaker 2: to I saw what you did pot at gmail dot

521
00:27:20,000 --> 00:27:24,240
Speaker 2: com and we obviously read them on air and look

522
00:27:24,280 --> 00:27:27,119
Speaker 2: at them all the time. So we love talking and

523
00:27:27,160 --> 00:27:29,520
Speaker 2: hearing from you, So do it.

524
00:27:29,960 --> 00:27:32,159
Speaker 3: Should you get into our movies for the week.

525
00:27:32,119 --> 00:27:36,160
Speaker 2: We should. So we're continuing on. This is the second

526
00:27:36,240 --> 00:27:40,240
Speaker 2: week of our little month long spotlight on Black History Month.

527
00:27:40,920 --> 00:27:43,639
Speaker 2: Tell them the episode theme for this week.

528
00:27:43,880 --> 00:27:48,679
Speaker 1: Our theme for this week is the La Rebellion.

529
00:27:49,160 --> 00:27:52,399
Speaker 2: Now, I have to admit, I think a lot of people,

530
00:27:52,440 --> 00:27:56,520
Speaker 2: if you're like really into film, you've probably heard about this.

531
00:27:57,040 --> 00:28:01,760
Speaker 2: I don't think it's actually like widely known in terms

532
00:28:01,800 --> 00:28:05,800
Speaker 2: of the time and place of this in film history,

533
00:28:06,480 --> 00:28:09,240
Speaker 2: and I think it's a shame, but I think that

534
00:28:09,320 --> 00:28:14,480
Speaker 2: there's currently still people who are trying to give this

535
00:28:14,600 --> 00:28:18,119
Speaker 2: a lot of emphasis and spotlight. Like there was a

536
00:28:18,400 --> 00:28:23,399
Speaker 2: huge public exhibit in la that was done with the

537
00:28:23,440 --> 00:28:27,720
Speaker 2: Getty and UCLA, and it was part of this thing

538
00:28:27,800 --> 00:28:31,159
Speaker 2: called Pacific Standard Time, which was basically this whole big

539
00:28:31,520 --> 00:28:35,760
Speaker 2: art event that they're putting on about La Art or

540
00:28:35,800 --> 00:28:39,120
Speaker 2: West Coast Art. And that was the first time that

541
00:28:39,160 --> 00:28:43,600
Speaker 2: I actually remember anybody doing an La Rebellion themed exhibit

542
00:28:44,440 --> 00:28:46,600
Speaker 2: or anything, and that was in twenty eleven, So it

543
00:28:46,640 --> 00:28:51,400
Speaker 2: hasn't been that long to even have this be out there,

544
00:28:52,000 --> 00:28:55,560
Speaker 2: but we wanted to talk about it because it's cool,

545
00:28:55,640 --> 00:28:56,959
Speaker 2: it's important.

546
00:28:56,640 --> 00:28:59,600
Speaker 1: And a lot of filmmakers who were part of this

547
00:28:59,640 --> 00:29:02,880
Speaker 1: group of people, I think are now.

548
00:29:02,640 --> 00:29:05,000
Speaker 3: Coming to some prominence or being known.

549
00:29:05,080 --> 00:29:09,600
Speaker 1: But they've been making incredible, stunning, shocking, beautiful film since

550
00:29:09,640 --> 00:29:10,280
Speaker 1: the sixties.

551
00:29:10,480 --> 00:29:13,880
Speaker 2: So the only rebellion really is it's a time and

552
00:29:13,960 --> 00:29:17,320
Speaker 2: place in film history where basically, like an influx of

553
00:29:17,640 --> 00:29:24,000
Speaker 2: African American and African students entered the theater, Film and

554
00:29:24,040 --> 00:29:28,200
Speaker 2: Television program at UCLA, and like Daniel said, it was

555
00:29:28,320 --> 00:29:30,400
Speaker 2: starting kind of in the late sixties, and it moved

556
00:29:30,440 --> 00:29:32,680
Speaker 2: into the seventies and eighties, and there were students that

557
00:29:32,760 --> 00:29:36,360
Speaker 2: were graduating and sort of mentoring other students. But it

558
00:29:36,440 --> 00:29:44,800
Speaker 2: includes filmmakers like Charles Burnett, Julie Dash, Larry Clark, jamalfanaka

559
00:29:45,120 --> 00:29:50,960
Speaker 2: Hiley Grima, Billy Woodberry, and these were filmmakers who were

560
00:29:51,000 --> 00:29:55,160
Speaker 2: moving away from the genre esthetics of blaxploitation, which basically,

561
00:29:55,760 --> 00:29:59,240
Speaker 2: for a while was kind of people's idea of black film.

562
00:29:59,360 --> 00:30:04,200
Speaker 2: They were only seeing and hearing about Superfly, Shaft, you know,

563
00:30:04,840 --> 00:30:08,520
Speaker 2: dole My like that kind of stuff, and basically they

564
00:30:08,680 --> 00:30:11,360
Speaker 2: kind of created a different way of kind of telling

565
00:30:11,440 --> 00:30:12,800
Speaker 2: black stories, right, right?

566
00:30:13,480 --> 00:30:14,040
Speaker 3: Is it true?

567
00:30:14,360 --> 00:30:17,840
Speaker 1: Because I'm also like just learning recently about the La

568
00:30:17,920 --> 00:30:23,600
Speaker 1: Rebellion from recommendations from you, honestly, and in researching it,

569
00:30:23,800 --> 00:30:26,800
Speaker 1: I was reading about the Black Independent Movement. Is that

570
00:30:26,960 --> 00:30:30,360
Speaker 1: the same thing, where like it's kind of that mix

571
00:30:30,400 --> 00:30:33,479
Speaker 1: of politics and culture and history and working class and

572
00:30:33,520 --> 00:30:36,400
Speaker 1: like class conflict that was in response to like white

573
00:30:36,400 --> 00:30:37,920
Speaker 1: Hollywood and black exploitation.

574
00:30:38,560 --> 00:30:40,920
Speaker 2: Yeah, I mean, I think it's all kind of coming together.

575
00:30:41,000 --> 00:30:44,920
Speaker 2: I mean there's also like post Watts riots in Los Angeles,

576
00:30:45,120 --> 00:30:47,600
Speaker 2: So it was just kind of like a very fertile

577
00:30:47,800 --> 00:30:53,640
Speaker 2: time for activism and the rethinking of sort of where

578
00:30:53,680 --> 00:30:56,719
Speaker 2: people were at in the black community and sort of

579
00:30:56,760 --> 00:30:59,680
Speaker 2: where people were at artistically within the black community. So

580
00:30:59,760 --> 00:31:02,640
Speaker 2: I think it was you know, it's obviously late sixties,

581
00:31:02,680 --> 00:31:06,480
Speaker 2: as you can imagine, the entire world was dealing with

582
00:31:06,600 --> 00:31:10,120
Speaker 2: some kind of change, right. But Yeah, this, I think

583
00:31:10,240 --> 00:31:14,360
Speaker 2: it's it's kind of all mixed in there. And like

584
00:31:14,400 --> 00:31:18,240
Speaker 2: I said, I think it really wasn't until recently that

585
00:31:18,720 --> 00:31:23,040
Speaker 2: anybody was really kind of doing the hard archiving and

586
00:31:23,080 --> 00:31:25,840
Speaker 2: research work that it took to kind of track down

587
00:31:25,960 --> 00:31:28,200
Speaker 2: a lot of the people that were involved in the

588
00:31:28,320 --> 00:31:31,600
Speaker 2: La Rebellion because a lot of them had been forgotten.

589
00:31:31,680 --> 00:31:33,680
Speaker 2: I mean when you think about student films that are

590
00:31:33,680 --> 00:31:36,760
Speaker 2: made within universities, I mean I made some and was

591
00:31:36,800 --> 00:31:39,560
Speaker 2: in several. I have no idea where that shit is

592
00:31:39,640 --> 00:31:44,440
Speaker 2: right now. It was love it, I know, right, it

593
00:31:44,520 --> 00:31:46,960
Speaker 2: was like think about that, right, I think about like

594
00:31:47,320 --> 00:31:50,520
Speaker 2: what you did as a student maybe and you go, oh, yeah,

595
00:31:50,720 --> 00:31:53,080
Speaker 2: like that shit's not seeing the light of day. I

596
00:31:53,520 --> 00:31:56,240
Speaker 2: doubt anybody has copies of these things. So that's what

597
00:31:56,280 --> 00:31:59,560
Speaker 2: the archivists and historians are doing is trying to peace

598
00:31:59,680 --> 00:32:03,640
Speaker 2: back together like who was involved. And again we're coming

599
00:32:03,680 --> 00:32:06,720
Speaker 2: back to this problem of distribution, which is that you know,

600
00:32:07,600 --> 00:32:10,440
Speaker 2: I think some of the bigger directors in the Ali Rebellion, obviously,

601
00:32:10,440 --> 00:32:13,160
Speaker 2: like Charles Burnett and Julie dash they were able to

602
00:32:13,320 --> 00:32:17,640
Speaker 2: get some type of distribution on home video, but a

603
00:32:17,640 --> 00:32:19,840
Speaker 2: lot of them still haven't, including a lot of the

604
00:32:19,880 --> 00:32:23,720
Speaker 2: early work from people. So yeah, it's it's kind of

605
00:32:23,800 --> 00:32:26,760
Speaker 2: like it's still going, which is great.

606
00:32:26,600 --> 00:32:29,000
Speaker 1: But these are these are films that kind of need

607
00:32:29,000 --> 00:32:32,160
Speaker 1: to be saved in order to be seen. Right when

608
00:32:32,200 --> 00:32:34,160
Speaker 1: you think of all the different ways that people can

609
00:32:34,240 --> 00:32:36,480
Speaker 1: self distribute or all the different ways that people can

610
00:32:36,520 --> 00:32:38,400
Speaker 1: now kind of create and put.

611
00:32:38,200 --> 00:32:39,800
Speaker 3: Their own workout into the world.

612
00:32:40,200 --> 00:32:42,600
Speaker 1: It's really shocking that we still have to do this

613
00:32:42,920 --> 00:32:45,719
Speaker 1: for certain black films or black filmmakers or people who

614
00:32:45,800 --> 00:32:48,320
Speaker 1: are you know, in a minority group.

615
00:32:48,760 --> 00:32:51,680
Speaker 2: Agreed and like basically you know, when it comes down

616
00:32:51,720 --> 00:32:56,200
Speaker 2: to like who's out there distributing these movies. I mean

617
00:32:56,280 --> 00:32:59,120
Speaker 2: a lot of times these are companies that are kind

618
00:32:59,120 --> 00:33:03,640
Speaker 2: of mom and pop, boutiquey type of places themselves. Yeah,

619
00:33:04,000 --> 00:33:07,160
Speaker 2: and a lot of them don't have a shit ton

620
00:33:07,200 --> 00:33:12,400
Speaker 2: of money, certainly not studio money to put out physical

621
00:33:12,480 --> 00:33:16,760
Speaker 2: media especially, But yeah, it's I'm excited to talk about these.

622
00:33:17,000 --> 00:33:19,520
Speaker 3: We'll get let's get into it. I think you're first

623
00:33:19,520 --> 00:33:20,640
Speaker 3: this week, so let's jump in.

624
00:33:20,840 --> 00:33:25,600
Speaker 2: Ooh, I am first, feeling the fresh all right, So well,

625
00:33:25,680 --> 00:33:28,959
Speaker 2: my film this week then, is a film from nineteen

626
00:33:29,040 --> 00:33:35,560
Speaker 2: seventy nine. It is called Penitentiary and is directed by Jamafanaka.

627
00:33:35,080 --> 00:33:36,960
Speaker 1: Who to help with you and myself.

628
00:33:37,000 --> 00:33:40,080
Speaker 2: You just fall then in the county jail six months.

629
00:33:40,480 --> 00:33:51,080
Speaker 2: Your box not really why boxing tournament coming out? Big fun?

630
00:33:52,040 --> 00:33:52,640
Speaker 3: You box?

631
00:33:54,280 --> 00:34:02,000
Speaker 1: Hell no, have don't box, i'd cue.

632
00:34:02,000 --> 00:34:08,720
Speaker 2: I must begrudgingly report that we do have another movie

633
00:34:08,719 --> 00:34:13,279
Speaker 2: about the prison industrial complex this week. And you know,

634
00:34:13,360 --> 00:34:18,080
Speaker 2: as we touched upon in the Bronzon episode, So there's

635
00:34:18,120 --> 00:34:21,480
Speaker 2: this entire history of prison films, I mean even in

636
00:34:21,520 --> 00:34:24,640
Speaker 2: the early days of movies too, and there's so many

637
00:34:24,680 --> 00:34:28,640
Speaker 2: branches at this point. I mean there's like women's prison movies,

638
00:34:28,719 --> 00:34:36,440
Speaker 2: and there's you know, like like southern prisons, chain gang sanitariums.

639
00:34:36,480 --> 00:34:39,320
Speaker 2: I mean you could really you know, I think ultimately

640
00:34:40,120 --> 00:34:44,680
Speaker 2: what makes a topic like a prison fascinating to people

641
00:34:44,719 --> 00:34:49,640
Speaker 2: and why people are still watching television and movies about

642
00:34:49,719 --> 00:34:53,319
Speaker 2: prison is that it really is oftentimes seen as this

643
00:34:53,520 --> 00:35:00,279
Speaker 2: other world, like it's this brutal ecosystem of physical and

644
00:35:00,360 --> 00:35:08,040
Speaker 2: sexual and psychological violence, and there's this cast system or

645
00:35:08,040 --> 00:35:12,360
Speaker 2: this pecking order that's established within the prison usually, where

646
00:35:12,760 --> 00:35:16,800
Speaker 2: like we mentioned in the Bronson episode, being the strongest

647
00:35:16,840 --> 00:35:21,520
Speaker 2: and the toughest is like a currency, and especially in

648
00:35:21,560 --> 00:35:24,000
Speaker 2: this film for this week that I'm about to talk about,

649
00:35:24,000 --> 00:35:28,120
Speaker 2: it literally gets you your freedom. Being the toughest and

650
00:35:28,160 --> 00:35:33,279
Speaker 2: strongest gets you your freedom. So Penitentiary was made by

651
00:35:33,280 --> 00:35:38,040
Speaker 2: the director Jamafanaka, and this movie was made while he

652
00:35:38,160 --> 00:35:41,600
Speaker 2: was still in school at UCLA, and it was not

653
00:35:41,680 --> 00:35:46,080
Speaker 2: only the most commercially successful film of the La Rebellion,

654
00:35:46,400 --> 00:35:50,160
Speaker 2: but it was the most successful independent movie of the

655
00:35:50,280 --> 00:35:53,000
Speaker 2: year that came out, which is nineteen seventy nine, So

656
00:35:53,040 --> 00:35:55,799
Speaker 2: that's saying a lot. I mean, it made money, and

657
00:35:56,160 --> 00:35:59,960
Speaker 2: he ended up making two sequels to it, the second one.

658
00:36:00,040 --> 00:36:04,480
Speaker 2: And I think I think it was mister T's first movie,

659
00:36:05,520 --> 00:36:07,560
Speaker 2: or it came out the same year as Rocky three.

660
00:36:07,840 --> 00:36:10,800
Speaker 2: I'm not sure, but it was an early Mister T vehicle.

661
00:36:11,560 --> 00:36:14,279
Speaker 2: But I will say this too, like I think that

662
00:36:14,600 --> 00:36:19,879
Speaker 2: jamafanaka he I think maybe, unlike some of the other

663
00:36:20,040 --> 00:36:24,840
Speaker 2: La Rebellion filmmakers, he was actually fascinated by and wanted

664
00:36:24,880 --> 00:36:28,360
Speaker 2: to make Hollywood movies. Like I think that he wanted

665
00:36:28,400 --> 00:36:31,680
Speaker 2: to make drama films that were entertaining. And you know

666
00:36:31,800 --> 00:36:35,520
Speaker 2: what happened with Penitentiary is that it was successful and

667
00:36:35,640 --> 00:36:38,640
Speaker 2: he did want to be successful as a director. But

668
00:36:38,680 --> 00:36:41,520
Speaker 2: I also think people would see it and go, this

669
00:36:41,640 --> 00:36:44,200
Speaker 2: seems like it's got the bones of an exploitation movie,

670
00:36:45,520 --> 00:36:49,360
Speaker 2: and a lot of exploitation movies are about prison. But

671
00:36:49,400 --> 00:36:52,400
Speaker 2: I also think too so it's taking a little bit

672
00:36:52,400 --> 00:36:55,520
Speaker 2: from the exploitation genre or the black exploitation genre, but

673
00:36:55,600 --> 00:36:58,800
Speaker 2: it's also got kind of you know, it also has

674
00:36:58,960 --> 00:37:03,520
Speaker 2: the bones of like the African American independent cinema that

675
00:37:03,680 --> 00:37:07,719
Speaker 2: was coming later, you know, the Spike Lee's and whatnot.

676
00:37:08,120 --> 00:37:11,319
Speaker 2: So I think it's kind of like a perfect crossroads

677
00:37:11,360 --> 00:37:12,280
Speaker 2: for both things.

678
00:37:12,560 --> 00:37:15,040
Speaker 1: I was gonna athlete. Who is Jama Finaka, like if

679
00:37:15,080 --> 00:37:16,440
Speaker 1: you don't know him at all?

680
00:37:16,760 --> 00:37:22,040
Speaker 2: Yeah, So basically like he was a he came from Mississippi.

681
00:37:22,239 --> 00:37:26,200
Speaker 2: He was not born Jamafanaka. He adopted that name later

682
00:37:26,280 --> 00:37:29,000
Speaker 2: in his career or like as he was going through school.

683
00:37:29,560 --> 00:37:32,879
Speaker 2: He was a filmmaker that I was introduced to him

684
00:37:32,960 --> 00:37:36,200
Speaker 2: from a movie called Welcome Home, Brother Charles. In this

685
00:37:36,280 --> 00:37:40,080
Speaker 2: movie called Mma, which I think is also titled Black

686
00:37:40,160 --> 00:37:44,080
Speaker 2: Sister's Revenge. With Mma, there was a female protagonist and

687
00:37:44,160 --> 00:37:46,640
Speaker 2: it was sort of like he was just making really

688
00:37:46,640 --> 00:37:50,200
Speaker 2: interesting work. And then when he did Penitentiary, like I

689
00:37:50,280 --> 00:37:53,200
Speaker 2: mentioned before, that was kind of like, you know, his

690
00:37:53,520 --> 00:37:56,400
Speaker 2: bigger movie. It had more of a budget, and he

691
00:37:56,560 --> 00:37:58,480
Speaker 2: was doing it at school when he was using it

692
00:37:58,480 --> 00:38:01,560
Speaker 2: was actually films in la Some of the scenes that

693
00:38:01,600 --> 00:38:04,080
Speaker 2: were in the yard were actually filmed at the backlot

694
00:38:04,080 --> 00:38:06,000
Speaker 2: at UCLA, but it was it was filmed out at

695
00:38:06,080 --> 00:38:09,879
Speaker 2: jail in La and he was a part of the

696
00:38:10,040 --> 00:38:13,239
Speaker 2: La Rebellion group. He was in school with all of

697
00:38:13,280 --> 00:38:14,359
Speaker 2: the filmmakers there.

698
00:38:14,719 --> 00:38:17,480
Speaker 3: And did you know him, like personally.

699
00:38:17,280 --> 00:38:22,000
Speaker 2: I did actually because of buying his films for TCM

700
00:38:22,080 --> 00:38:25,680
Speaker 2: or licensing his films at TCM. He sent me a

701
00:38:25,719 --> 00:38:28,000
Speaker 2: message and was like, I'd love to talk to you.

702
00:38:28,280 --> 00:38:31,719
Speaker 2: Like I'm very you know, pleased that she licensed this

703
00:38:31,800 --> 00:38:34,680
Speaker 2: movie for Turtle Classic Movies. And like we developed kind

704
00:38:34,680 --> 00:38:38,799
Speaker 2: of a friendship. And he was such a lovely kind man,

705
00:38:39,040 --> 00:38:41,600
Speaker 2: Like he was so sweet. He signed off all of

706
00:38:41,640 --> 00:38:45,560
Speaker 2: his emails and all his letters friend for life, which

707
00:38:45,600 --> 00:38:48,960
Speaker 2: is so sweet. And sometimes he would like abbreviate it

708
00:38:49,000 --> 00:38:57,560
Speaker 2: would be like FFL like love so cute. I'll do

709
00:38:57,640 --> 00:39:01,920
Speaker 2: a little bit of synopsis. So bas Penitentiary is about

710
00:39:01,960 --> 00:39:07,520
Speaker 2: this young black man named Martel too sweet Gordon.

711
00:39:08,360 --> 00:39:09,719
Speaker 3: Gordon is what kills me.

712
00:39:09,960 --> 00:39:15,560
Speaker 2: Gordon slices me into it. I it's so awesome. But

713
00:39:15,600 --> 00:39:19,279
Speaker 2: he's called too sweet because apparently he loves mister Goodbars,

714
00:39:19,719 --> 00:39:23,440
Speaker 2: which good for him. I think mister Goodbar is nasty.

715
00:39:23,520 --> 00:39:27,160
Speaker 3: But you know, look, we each have our own special Candi.

716
00:39:28,080 --> 00:39:30,160
Speaker 2: Yeah, I mean I still eat watch McCall it's whenever

717
00:39:30,200 --> 00:39:30,680
Speaker 2: I see him.

718
00:39:30,680 --> 00:39:33,640
Speaker 3: So who am I to still make Watch mccallins.

719
00:39:34,080 --> 00:39:34,879
Speaker 2: Can you believe it?

720
00:39:35,400 --> 00:39:37,840
Speaker 3: I can't. I truly can't believe it, and I have

721
00:39:37,960 --> 00:39:39,720
Speaker 3: not seen once. It's nineteen eighty six.

722
00:39:41,000 --> 00:39:43,439
Speaker 2: I think me and my sister are the only people eating.

723
00:39:43,480 --> 00:39:47,239
Speaker 2: Watch mccallis in twenty twenty one, and so at the

724
00:39:47,280 --> 00:39:48,960
Speaker 2: beginning of the movie, he's just like wandering through the

725
00:39:49,000 --> 00:39:51,560
Speaker 2: desert and he finds himself in this altercation at a

726
00:39:51,640 --> 00:39:55,719
Speaker 2: diner with these two white biker guys and he is

727
00:39:55,800 --> 00:39:59,799
Speaker 2: defending this woman who's just picked him up, and they

728
00:39:59,840 --> 00:40:02,560
Speaker 2: ca into a big fight and a murder happens, and

729
00:40:02,600 --> 00:40:06,000
Speaker 2: he is arrested and sent to jail. He did not

730
00:40:06,200 --> 00:40:08,880
Speaker 2: commit the murder, I will say it. He was just

731
00:40:08,920 --> 00:40:13,080
Speaker 2: in the fight. So there you go. So basically the

732
00:40:13,080 --> 00:40:15,360
Speaker 2: film is about him being in jail and all the

733
00:40:15,400 --> 00:40:19,200
Speaker 2: prisoners that he really he interacts with. The thing is

734
00:40:19,200 --> 00:40:21,480
Speaker 2: is that he figures out pretty quickly that he has

735
00:40:21,560 --> 00:40:25,560
Speaker 2: to assert his toughness in the jail, and he does

736
00:40:25,600 --> 00:40:29,799
Speaker 2: so because he has like zero body fat on his

737
00:40:29,800 --> 00:40:35,400
Speaker 2: body and is rippling with muscles. It's almost too distracting.

738
00:40:35,560 --> 00:40:36,879
Speaker 2: Sometimes he looks like.

739
00:40:37,440 --> 00:40:39,919
Speaker 1: Those posters where have you ever seen those posters where

740
00:40:39,920 --> 00:40:41,719
Speaker 1: they hang up in like martial arts classes where the

741
00:40:41,719 --> 00:40:44,200
Speaker 1: guy has his arm in an L and then the

742
00:40:44,239 --> 00:40:45,759
Speaker 1: other arm is kind of down to his side and

743
00:40:45,760 --> 00:40:46,720
Speaker 1: he's raising his leg.

744
00:40:46,600 --> 00:40:48,000
Speaker 3: And it's just to show the musculature.

745
00:40:48,560 --> 00:40:50,400
Speaker 2: I know, he's like a musculature model.

746
00:40:50,520 --> 00:40:53,320
Speaker 3: Yeah, he's basically back. He's like the Trivian man or whatever.

747
00:40:53,400 --> 00:40:56,880
Speaker 1: Like he's just like, look at my muscles every single

748
00:40:57,320 --> 00:40:58,239
Speaker 1: moment of his life.

749
00:40:58,320 --> 00:41:01,840
Speaker 2: Yeah, it makes me go, oh, how what must it

750
00:41:01,920 --> 00:41:04,560
Speaker 2: be like to be that toned? I'm like, I honestly

751
00:41:04,600 --> 00:41:08,000
Speaker 2: can't imagine. I can't imagine being that fit. So what

752
00:41:08,120 --> 00:41:12,040
Speaker 2: happens in penitentiary is that he finds out that there's

753
00:41:12,040 --> 00:41:16,920
Speaker 2: a boxing program within the prison where the warden offers

754
00:41:17,160 --> 00:41:23,360
Speaker 2: parole for the winner of this boxing match. Now, honestly,

755
00:41:23,400 --> 00:41:26,040
Speaker 2: would that ever happen in real life?

756
00:41:26,360 --> 00:41:27,960
Speaker 3: Not a chance.

757
00:41:28,360 --> 00:41:33,560
Speaker 1: Also, there's such like there's such slave master energy coming

758
00:41:33,600 --> 00:41:37,440
Speaker 1: from this because it's like this white Southern dude who's

759
00:41:37,520 --> 00:41:41,760
Speaker 1: the warden and he's parolling these boxers to his brother

760
00:41:42,120 --> 00:41:44,760
Speaker 1: to like make money off of or brother in law,

761
00:41:45,200 --> 00:41:48,880
Speaker 1: and it's just like there's such the dynamic of the

762
00:41:49,280 --> 00:41:51,200
Speaker 1: master slave is too much.

763
00:41:51,320 --> 00:41:52,759
Speaker 3: It's too much in this movie.

764
00:41:52,960 --> 00:41:56,479
Speaker 2: Oh my god, this warden is insane. I actually don't

765
00:41:56,520 --> 00:41:59,560
Speaker 2: even know if he's the warden or just this police lieutenant.

766
00:41:59,560 --> 00:42:02,640
Speaker 2: I can't figure it out. And he's constantly chomp on

767
00:42:02,719 --> 00:42:06,640
Speaker 2: a cigar. But you're totally right where you're just basically like,

768
00:42:06,640 --> 00:42:10,920
Speaker 2: there's some weirdness here. Honestly, as we probably would know

769
00:42:11,520 --> 00:42:14,120
Speaker 2: now knowing what we know about La Rebellion is probably

770
00:42:14,160 --> 00:42:16,160
Speaker 2: on purpose right to show that.

771
00:42:16,520 --> 00:42:18,480
Speaker 1: That's what I love is that it's a whole genre

772
00:42:18,560 --> 00:42:21,319
Speaker 1: that's turning the narrative of film on its head. So

773
00:42:21,360 --> 00:42:25,279
Speaker 1: it makes sense that the people who would normally, you know,

774
00:42:25,320 --> 00:42:27,239
Speaker 1: tell these stories would tell it from the perspective of

775
00:42:27,280 --> 00:42:29,680
Speaker 1: the people in charge. And here we have a bunch

776
00:42:29,680 --> 00:42:31,720
Speaker 1: of filmmakers saying, no, we're going to tell this story

777
00:42:31,719 --> 00:42:32,680
Speaker 1: from the other side.

778
00:42:32,880 --> 00:42:36,400
Speaker 2: Yeah, isn't it interesting when a black filmmaker tackles the

779
00:42:36,440 --> 00:42:41,799
Speaker 2: subject of black people in prison? Having that simple adjustment

780
00:42:42,120 --> 00:42:45,280
Speaker 2: I think makes it a different story completely in my opinion.

781
00:42:45,800 --> 00:42:47,319
Speaker 2: But I all got to say, there's a lot of

782
00:42:47,320 --> 00:42:49,960
Speaker 2: stuff happening in this jail that I'm like, would that

783
00:42:50,000 --> 00:42:53,200
Speaker 2: ever happen. Including there there's like a full on band

784
00:42:53,480 --> 00:42:59,440
Speaker 2: that's playing with instruments in the yard, and I'm like,

785
00:43:00,120 --> 00:43:02,960
Speaker 2: would that happen? Like, how do they sneak in a

786
00:43:03,040 --> 00:43:05,520
Speaker 2: stack amp? I don't they'd staying a full.

787
00:43:05,320 --> 00:43:10,920
Speaker 1: Band, breakdancers, color coordinated basketball outfits. You've got guards walking

788
00:43:10,920 --> 00:43:13,400
Speaker 1: around and three inch stacked heeled boots.

789
00:43:14,280 --> 00:43:16,200
Speaker 3: I mean, this prison it's like.

790
00:43:17,600 --> 00:43:22,279
Speaker 1: It's just like the Porkys of prisons.

791
00:43:23,320 --> 00:43:25,040
Speaker 2: I mean, I was like, I know this is LA

792
00:43:25,080 --> 00:43:27,440
Speaker 2: and they do things a little differently on the West Coast,

793
00:43:27,440 --> 00:43:29,120
Speaker 2: but Jesus Christ, there's a full band.

794
00:43:29,280 --> 00:43:30,280
Speaker 3: There's no uniforms.

795
00:43:30,320 --> 00:43:32,000
Speaker 1: It's like there's some dudes in just like a bucket

796
00:43:32,040 --> 00:43:34,040
Speaker 1: hat and it's like they're street clothes and they've been

797
00:43:34,040 --> 00:43:35,640
Speaker 1: there for like twenty years, and You're like, how did

798
00:43:35,640 --> 00:43:37,520
Speaker 1: you get new street clothes from sears?

799
00:43:38,000 --> 00:43:40,239
Speaker 3: You've been in here for like a minute.

800
00:43:40,680 --> 00:43:42,640
Speaker 2: I know there's something else that happens later in the

801
00:43:42,680 --> 00:43:44,320
Speaker 2: movie that I have to talk about, which I also

802
00:43:44,360 --> 00:43:47,000
Speaker 2: think is so outrageous. So the other prisoners in this

803
00:43:47,120 --> 00:43:51,440
Speaker 2: jail are also indoctrinated right into this boxing program, including

804
00:43:51,480 --> 00:43:55,760
Speaker 2: Too Sweet, and including this new prisoner named Eugene who's

805
00:43:55,800 --> 00:43:59,360
Speaker 2: this like young guy, and he falls into a batspot

806
00:44:00,160 --> 00:44:04,040
Speaker 2: pretty quickly, and you know, because of this, I think

807
00:44:04,120 --> 00:44:05,960
Speaker 2: Too Sweet begins to kind of look after him like

808
00:44:05,960 --> 00:44:08,239
Speaker 2: he's a big brother, and they end up being kind

809
00:44:08,280 --> 00:44:11,759
Speaker 2: of coached by this much older prisoner named Seldom Seen,

810
00:44:12,600 --> 00:44:15,120
Speaker 2: and he's been in the jail for like thirty years.

811
00:44:15,760 --> 00:44:20,200
Speaker 2: He himself understands that he is institutionalized. As he says

812
00:44:20,200 --> 00:44:22,200
Speaker 2: in the movie, he's just been in jail for so

813
00:44:22,239 --> 00:44:24,799
Speaker 2: long that he doesn't know how to be free, right,

814
00:44:25,160 --> 00:44:27,680
Speaker 2: And his scenes are some of my absolute favorite in

815
00:44:27,719 --> 00:44:30,520
Speaker 2: the movie, just like him talking him kind of you know,

816
00:44:30,680 --> 00:44:32,959
Speaker 2: laying down the rules to Too Sweet. When he enters

817
00:44:33,000 --> 00:44:36,560
Speaker 2: into his you know, jail, Sally's like, don't touch my stuff, Like, yeah,

818
00:44:36,600 --> 00:44:38,799
Speaker 2: don't talk to me about anything that you do, Like

819
00:44:38,960 --> 00:44:41,879
Speaker 2: I leave me alone. Like I'm I've been in here

820
00:44:41,920 --> 00:44:43,520
Speaker 2: for a long time and I know how to be

821
00:44:43,600 --> 00:44:45,719
Speaker 2: in here, so don't ruin my fucking day.

822
00:44:45,920 --> 00:44:48,680
Speaker 1: That's basically how I am in quarantine.

823
00:44:49,080 --> 00:44:50,960
Speaker 3: I know how to be in this apartment.

824
00:44:51,239 --> 00:44:54,840
Speaker 1: Don't come in here and fuck my shit up exactly

825
00:44:54,920 --> 00:44:55,960
Speaker 1: like you been driving.

826
00:44:55,680 --> 00:44:56,960
Speaker 3: Packages at my door.

827
00:44:57,280 --> 00:45:03,400
Speaker 1: You got to be like say things to get away.

828
00:45:01,239 --> 00:45:05,880
Speaker 2: Yeah, so true. But then of course you've got the

829
00:45:06,040 --> 00:45:10,520
Speaker 2: ultimate bad guy named Jesse Amos, and he's the toughest

830
00:45:10,560 --> 00:45:12,880
Speaker 2: guy in the jail and he kind of runs the

831
00:45:12,880 --> 00:45:16,400
Speaker 2: goon squad of the jail and he's kind of like

832
00:45:16,520 --> 00:45:19,960
Speaker 2: the final boss of the movie for two sweets. So

833
00:45:20,480 --> 00:45:23,560
Speaker 2: you have all these different characters, and in terms of

834
00:45:23,600 --> 00:45:28,760
Speaker 2: the actual fighting sequences, man, they are long and brutal.

835
00:45:28,800 --> 00:45:30,960
Speaker 1: And they are like fight scenes like I have never

836
00:45:31,280 --> 00:45:33,800
Speaker 1: seen because you can tell that they're tired.

837
00:45:36,880 --> 00:45:39,919
Speaker 2: So the thing that's interesting about these scenes too. First

838
00:45:39,920 --> 00:45:42,719
Speaker 2: of all, I was actually convinced in a lot of

839
00:45:42,719 --> 00:45:46,600
Speaker 2: moments that they were really hitting each other, and I

840
00:45:46,640 --> 00:45:48,239
Speaker 2: was like, holy shit. I mean, I don't know how

841
00:45:48,280 --> 00:45:51,279
Speaker 2: to honestly, I know that's movie magic. I don't know

842
00:45:51,560 --> 00:45:54,439
Speaker 2: how to pretend to fight and when it happens every day.

843
00:45:54,560 --> 00:45:57,000
Speaker 2: There's lots of stunt coordinators that work very hard to

844
00:45:57,000 --> 00:45:58,400
Speaker 2: make this shit look real. But I'm like, yo, this

845
00:45:58,440 --> 00:46:01,560
Speaker 2: shit looks real. Look like they were like play acting.

846
00:46:02,200 --> 00:46:05,520
Speaker 2: But the thing that is happening during these scenes, because

847
00:46:05,520 --> 00:46:08,560
Speaker 2: they're very long and they're brutal, and there's also kind

848
00:46:08,640 --> 00:46:12,279
Speaker 2: of like i'll just tell you this right now, this

849
00:46:12,360 --> 00:46:17,120
Speaker 2: is another possibly unlikely turn in this movie, but the

850
00:46:17,160 --> 00:46:20,880
Speaker 2: warden offers the prisoners that fight in this boxing match.

851
00:46:21,360 --> 00:46:23,880
Speaker 2: He tells them, Hey, I'm gonna go down to the

852
00:46:23,920 --> 00:46:28,000
Speaker 2: women's prison down the street and bring in women for

853
00:46:28,040 --> 00:46:31,239
Speaker 2: you to watch you box and cheer you on and

854
00:46:31,320 --> 00:46:36,239
Speaker 2: cheer you on. Okay, would that happen? I'm not entirely sure.

855
00:46:36,320 --> 00:46:37,440
Speaker 3: No, it would not happen.

856
00:46:37,200 --> 00:46:44,319
Speaker 2: But in this movie, it is fucking absolute chaos. Like

857
00:46:45,080 --> 00:46:49,239
Speaker 2: everyone in the crowd is going insane. There's like two

858
00:46:49,400 --> 00:46:52,840
Speaker 2: cops trying to wrangle everybody together.

859
00:46:53,200 --> 00:46:55,600
Speaker 1: It's the desperation of it because you know that this

860
00:46:55,680 --> 00:46:58,279
Speaker 1: is their entertainment for the year, like this, this is

861
00:46:58,400 --> 00:47:01,919
Speaker 1: it till you get that sense of inspirations so much

862
00:47:02,000 --> 00:47:04,920
Speaker 1: in the scene. But it also was interesting to me

863
00:47:04,960 --> 00:47:08,040
Speaker 1: about this scene or these scenes, i should say, because

864
00:47:08,040 --> 00:47:12,160
Speaker 1: there's more than one boxing scene. And what's really fascinating

865
00:47:12,160 --> 00:47:15,680
Speaker 1: to me is that they the warden also offered up

866
00:47:15,719 --> 00:47:19,800
Speaker 1: the chance for the winners to have conjugal visits. And

867
00:47:20,000 --> 00:47:22,959
Speaker 1: there's also like this whole bathroom thing going on where

868
00:47:23,000 --> 00:47:25,920
Speaker 1: people are like having sex and sneaking in and dropping

869
00:47:25,960 --> 00:47:29,080
Speaker 1: out of the ceiling and hiding. And again I'm not

870
00:47:29,080 --> 00:47:30,759
Speaker 1: the first person to point this out. But it is

871
00:47:30,920 --> 00:47:35,719
Speaker 1: interesting to me that even within the spirit of we

872
00:47:35,800 --> 00:47:40,840
Speaker 1: are doing something revolutionary and we are making a film

873
00:47:41,440 --> 00:47:44,000
Speaker 1: that is outside of the bounds of what you typically know,

874
00:47:44,600 --> 00:47:48,280
Speaker 1: that misogyny is still rampant, Like it's still like women

875
00:47:48,320 --> 00:47:51,920
Speaker 1: are still an afterthought. So as revolutionary as some of

876
00:47:51,960 --> 00:47:55,080
Speaker 1: these genres are and these films are, I'm still always

877
00:47:55,080 --> 00:47:57,359
Speaker 1: looking at how women are treated within them, and it's

878
00:47:57,400 --> 00:47:59,759
Speaker 1: usually not as revolutionary as the rest of the film is.

879
00:48:00,360 --> 00:48:03,560
Speaker 2: Well. Sure, and there's a lot of homophobia and transphobia

880
00:48:03,560 --> 00:48:08,240
Speaker 2: in this movie too, which is not great. And you know, again,

881
00:48:08,280 --> 00:48:11,200
Speaker 2: I think it comes from the time which it was made,

882
00:48:11,680 --> 00:48:14,719
Speaker 2: and also the idea that it is still tied to

883
00:48:14,840 --> 00:48:21,000
Speaker 2: an exploitation tradition right right, right, and for better for worse.

884
00:48:21,040 --> 00:48:25,480
Speaker 2: There are filmmakers that were making films that that was

885
00:48:25,560 --> 00:48:28,040
Speaker 2: kind of their reference point. And also, I think too,

886
00:48:28,320 --> 00:48:33,120
Speaker 2: the general demands of cinema to be profitable, to be

887
00:48:33,239 --> 00:48:38,520
Speaker 2: popular include violence and sex, right right, And that's what

888
00:48:38,560 --> 00:48:41,240
Speaker 2: I think is ultimately happening here, is that you're seeing

889
00:48:41,280 --> 00:48:44,520
Speaker 2: these two things being intercut. So you have these scenes

890
00:48:44,560 --> 00:48:49,399
Speaker 2: where there is violence and sex happening at the same time, right,

891
00:48:49,640 --> 00:48:52,640
Speaker 2: And that to me is an interesting tactic. I mean,

892
00:48:52,680 --> 00:48:54,520
Speaker 2: I'm just in here going like, you know, to put

893
00:48:54,560 --> 00:48:58,680
Speaker 2: them together. Obviously there's something behind that, but you're right,

894
00:48:58,760 --> 00:49:00,920
Speaker 2: I think that there is some aside in this movie

895
00:49:01,080 --> 00:49:04,600
Speaker 2: also in terms of the woman that Too Sweet gets

896
00:49:04,640 --> 00:49:07,719
Speaker 2: involved with. These are things that you look at from

897
00:49:07,760 --> 00:49:10,920
Speaker 2: a long lens exactly. That's crazy.

898
00:49:11,080 --> 00:49:12,920
Speaker 3: Yeah, And it doesn't take away from the movie.

899
00:49:12,960 --> 00:49:15,480
Speaker 1: I just think it's like it just stands out to me,

900
00:49:15,640 --> 00:49:17,719
Speaker 1: even in my film, Like, it just stands out to

901
00:49:17,760 --> 00:49:19,120
Speaker 1: me where I'm like.

902
00:49:19,080 --> 00:49:21,560
Speaker 3: Oh, yeah, this is revolutionary in so many ways.

903
00:49:21,480 --> 00:49:24,000
Speaker 1: Except or and you know this, it really reminded me

904
00:49:24,040 --> 00:49:27,560
Speaker 1: of like reading you know, Asada Chakor or a lot

905
00:49:27,560 --> 00:49:31,120
Speaker 1: of people who are involved with the Black Panthers. There

906
00:49:31,160 --> 00:49:34,200
Speaker 1: are definitely some essays in quite a few women who

907
00:49:34,200 --> 00:49:37,640
Speaker 1: wrote about the domestic abuse they suffered in that space,

908
00:49:37,719 --> 00:49:40,480
Speaker 1: and it's like, yeah, they were changing lives and promoting

909
00:49:40,600 --> 00:49:44,520
Speaker 1: the liberation of black people, but women still suffered within

910
00:49:44,560 --> 00:49:46,080
Speaker 1: that model. So it's just kind of like I just

911
00:49:46,120 --> 00:49:48,640
Speaker 1: always think about that because I can't help it.

912
00:49:49,040 --> 00:49:52,480
Speaker 2: Well, what's really interesting though, and to your point is

913
00:49:52,520 --> 00:49:55,720
Speaker 2: that Jamal Fanaka, I'll say this about him as a director.

914
00:49:55,760 --> 00:49:57,560
Speaker 2: First of all, he was one of the few black

915
00:49:57,600 --> 00:50:00,799
Speaker 2: directors that were in the Director's Guilt and in the

916
00:50:00,880 --> 00:50:05,360
Speaker 2: early nineties, he was really taking them to task about

917
00:50:05,400 --> 00:50:08,560
Speaker 2: a lot of their practices which he felt were discriminatory

918
00:50:08,640 --> 00:50:13,120
Speaker 2: against women and people of color. Right, So he was

919
00:50:13,120 --> 00:50:17,760
Speaker 2: filing all these class action lawsuits and he was funding

920
00:50:17,800 --> 00:50:21,399
Speaker 2: and drafting them himself. And you know, I think that

921
00:50:21,560 --> 00:50:25,000
Speaker 2: he felt and we never talked about this just because

922
00:50:25,040 --> 00:50:26,960
Speaker 2: we just didn't have that type of friendship. We were

923
00:50:26,960 --> 00:50:28,799
Speaker 2: friends for life, but we didn't talk about some of

924
00:50:28,840 --> 00:50:34,440
Speaker 2: this kind of stuff, you know. But I think though

925
00:50:34,560 --> 00:50:38,759
Speaker 2: that there's a notion that maybe his legacy was sort

926
00:50:38,800 --> 00:50:43,880
Speaker 2: of tarnished by this idea that he was some letigious,

927
00:50:44,120 --> 00:50:47,360
Speaker 2: cranky guy who wanted to stir up trouble in Hollywood

928
00:50:47,360 --> 00:50:51,200
Speaker 2: and was trying to go through and call people out

929
00:50:51,280 --> 00:50:54,560
Speaker 2: on their bullshit. And I mean, we have heard about

930
00:50:54,600 --> 00:50:58,080
Speaker 2: something like this before, Like this happens a lot with

931
00:50:58,160 --> 00:51:02,640
Speaker 2: like whistleblower types. And it's a shame because, you know,

932
00:51:02,760 --> 00:51:05,960
Speaker 2: I think that he felt like his career suffered because

933
00:51:06,000 --> 00:51:08,560
Speaker 2: of it, because he was calling all of this stuff

934
00:51:08,600 --> 00:51:12,520
Speaker 2: into question. But it's also interesting that he you know

935
00:51:13,440 --> 00:51:17,959
Speaker 2: that maybe time was the thing that maybe he didn't

936
00:51:18,000 --> 00:51:20,200
Speaker 2: realize that in nineteen seventy nine, as as making a

937
00:51:20,239 --> 00:51:24,359
Speaker 2: movie that had these kind of misogynists and homophobic and

938
00:51:24,840 --> 00:51:27,680
Speaker 2: you know, kind of otherwise kind of gnarly tones. But

939
00:51:27,719 --> 00:51:31,120
Speaker 2: then like later kind of came back and was advocating

940
00:51:31,160 --> 00:51:34,320
Speaker 2: for people. You know, it's interesting, you know, yeah.

941
00:51:34,200 --> 00:51:36,759
Speaker 1: And I think that it's true that it's far too

942
00:51:36,800 --> 00:51:39,960
Speaker 1: often people who are already marginalized who are standing up

943
00:51:39,960 --> 00:51:42,400
Speaker 1: for other people who do suffer the most. It was

944
00:51:42,680 --> 00:51:46,919
Speaker 1: probably easy to categorize him as a shitster or as

945
00:51:47,000 --> 00:51:49,759
Speaker 1: somebody who was hard to deal with or difficult in

946
00:51:49,800 --> 00:51:52,920
Speaker 1: some way because he's already making films that were like

947
00:51:53,040 --> 00:51:54,319
Speaker 1: I'm not playing your game.

948
00:51:54,800 --> 00:51:56,560
Speaker 3: So I can totally.

949
00:51:56,360 --> 00:52:01,040
Speaker 1: Understand that, and that's it's sincerely a trad that that

950
00:52:01,280 --> 00:52:04,320
Speaker 1: happens to so many creators, and black creators in particular,

951
00:52:04,600 --> 00:52:06,759
Speaker 1: But I get it, Like I see how that is.

952
00:52:06,800 --> 00:52:09,640
Speaker 1: Probably again, it made it easy for people who were

953
00:52:09,680 --> 00:52:13,200
Speaker 1: already dismissive of him as a creator to continue to

954
00:52:13,200 --> 00:52:13,879
Speaker 1: dismiss him.

955
00:52:14,200 --> 00:52:16,080
Speaker 2: Yeah, but you know, like I said, he made the

956
00:52:16,120 --> 00:52:20,280
Speaker 2: two sequels and you know, didn't really do a ton

957
00:52:20,719 --> 00:52:24,000
Speaker 2: after that, and the timing is right, I think based

958
00:52:24,040 --> 00:52:26,840
Speaker 2: on you know, just the information that we have about

959
00:52:26,920 --> 00:52:29,680
Speaker 2: what he was doing at the Director's Guild. So his legacy,

960
00:52:29,719 --> 00:52:32,640
Speaker 2: I think now is different. I think that people are

961
00:52:32,760 --> 00:52:36,359
Speaker 2: especially looking back at like MMA and Welcome Home Brother

962
00:52:36,480 --> 00:52:40,160
Speaker 2: Charles and that early stuff, and really like looking at

963
00:52:40,280 --> 00:52:42,680
Speaker 2: him as an auteur, which is great because we that's

964
00:52:42,719 --> 00:52:45,279
Speaker 2: the thing that we want is we want spotlights on

965
00:52:45,360 --> 00:52:48,840
Speaker 2: black all tours. So but I will say in closing,

966
00:52:50,480 --> 00:52:52,919
Speaker 2: I don't know if I've seen this recently. I could

967
00:52:52,920 --> 00:52:55,239
Speaker 2: be wrong because I'm also again not in these like

968
00:52:55,920 --> 00:52:59,960
Speaker 2: young people areas but too sweet. At one point is

969
00:53:00,080 --> 00:53:06,600
Speaker 2: boxing in tiny, tiny track shorts over a pair of sweatpants.

970
00:53:06,960 --> 00:53:10,919
Speaker 1: Yes, that was very common in the seventies and eighties.

971
00:53:11,080 --> 00:53:14,080
Speaker 2: Yes, I'm like, can we bring back that look?

972
00:53:14,239 --> 00:53:14,520
Speaker 1: We can?

973
00:53:14,680 --> 00:53:16,799
Speaker 3: Literally, you and me can. We would have to.

974
00:53:18,600 --> 00:53:20,400
Speaker 2: I don't know if I have those shorts, but I

975
00:53:20,440 --> 00:53:22,120
Speaker 2: definitely have the sweatpants, so you.

976
00:53:22,120 --> 00:53:25,840
Speaker 1: Would have to be the vanguard of that movement. It

977
00:53:25,920 --> 00:53:29,240
Speaker 1: is a sick look and the stock the sock showing. Yes,

978
00:53:29,440 --> 00:53:32,080
Speaker 1: I love that. I love a sweatpant with a sock

979
00:53:32,160 --> 00:53:35,120
Speaker 1: that is just there, like we're not doing it.

980
00:53:35,160 --> 00:53:37,839
Speaker 3: With a cute shoe or a sot.

981
00:53:37,920 --> 00:53:40,160
Speaker 1: Nope, it is a sweat pant and you're gonna get

982
00:53:40,160 --> 00:53:42,840
Speaker 1: a sweat sock and you're gonna get over it.

983
00:53:43,840 --> 00:53:45,319
Speaker 2: Yeah, that's great.

984
00:53:45,320 --> 00:53:47,279
Speaker 1: Well, I'm glad you picked this because I'd never seen it,

985
00:53:47,320 --> 00:53:50,200
Speaker 1: and I would have thought on first look that it

986
00:53:50,360 --> 00:53:52,880
Speaker 1: was a blaxploitation film or it was in that genre,

987
00:53:52,960 --> 00:53:55,319
Speaker 1: and it's so so much deeper and so much more,

988
00:53:55,360 --> 00:53:58,879
Speaker 1: and I really I just could really see and appreciate

989
00:53:58,960 --> 00:54:03,279
Speaker 1: the way that the characters were designed to be more

990
00:54:03,360 --> 00:54:06,440
Speaker 1: thoughtful and to be funny. Like there's a lot of

991
00:54:06,640 --> 00:54:09,160
Speaker 1: humor in this film as well, which I think when

992
00:54:09,160 --> 00:54:11,560
Speaker 1: people are trying to make such a you know, sometimes

993
00:54:11,560 --> 00:54:13,720
Speaker 1: when filmmakers are trying to make such a hefty point,

994
00:54:14,040 --> 00:54:16,120
Speaker 1: they forget that you can be human and you can

995
00:54:16,200 --> 00:54:20,120
Speaker 1: be funny. So that I really loved the sense of humor,

996
00:54:20,360 --> 00:54:24,120
Speaker 1: and I loved like there's one point where like, if

997
00:54:24,120 --> 00:54:26,279
Speaker 1: we're bringing back the sweatpants and the shorts, look, we

998
00:54:26,320 --> 00:54:29,000
Speaker 1: also have to bring back the words suck as something

999
00:54:29,040 --> 00:54:31,120
Speaker 1: to end a sentence. So there was this one point

1000
00:54:31,120 --> 00:54:33,919
Speaker 1: where this guy was like, who are you talking to suck?

1001
00:54:34,200 --> 00:54:38,040
Speaker 1: And I'm like, yes, yes, we are calling people suck again.

1002
00:54:38,120 --> 00:54:39,040
Speaker 1: That is what's happened.

1003
00:54:42,360 --> 00:54:45,319
Speaker 2: Oh god, we're talking to so on board. I'm so

1004
00:54:45,400 --> 00:54:46,120
Speaker 2: on board with that.

1005
00:54:46,239 --> 00:54:48,200
Speaker 3: I'm I just loved it.

1006
00:54:48,200 --> 00:54:49,840
Speaker 1: And then so there was another character it might have

1007
00:54:49,840 --> 00:54:52,439
Speaker 1: been Amos who said like, run it to me right

1008
00:54:52,480 --> 00:54:54,680
Speaker 1: instead of like just basically like tell me what's going on,

1009
00:54:54,840 --> 00:54:56,960
Speaker 1: Run it to me right. I'm like, I would bring

1010
00:54:57,040 --> 00:54:59,480
Speaker 1: back this lingo in a heart, But suck is happening.

1011
00:54:59,520 --> 00:55:01,480
Speaker 3: I'm calling everyone suck from here on.

1012
00:55:01,440 --> 00:55:08,359
Speaker 1: Out, my grandma, my fucking boss, like everyone.

1013
00:55:07,480 --> 00:55:12,759
Speaker 2: I will welcome that term with open arms.

1014
00:55:15,160 --> 00:55:18,760
Speaker 1: My film this week, released in nineteen ninety is called

1015
00:55:18,880 --> 00:55:21,920
Speaker 1: to Sleep with Anger, and it was written and directed

1016
00:55:21,960 --> 00:55:23,120
Speaker 1: by Charles Burnett.

1017
00:55:24,040 --> 00:55:28,520
Speaker 2: To Sleep with Anger, it's a film about old friends.

1018
00:55:34,400 --> 00:55:35,239
Speaker 2: I'm telling you.

1019
00:55:38,120 --> 00:55:40,960
Speaker 1: So a brief synopsis of this film before we get

1020
00:55:40,960 --> 00:55:43,880
Speaker 1: into talking about what the movie is and who Charles

1021
00:55:43,880 --> 00:55:47,240
Speaker 1: Burnett is. This is a movie about a south central

1022
00:55:47,400 --> 00:55:51,560
Speaker 1: Los Angeles family who has roots in the rural South.

1023
00:55:52,000 --> 00:55:54,279
Speaker 1: Mom and dad are from the South and they get

1024
00:55:54,280 --> 00:55:57,359
Speaker 1: a surprise visit from an old friend named Harry, who's

1025
00:55:57,360 --> 00:56:01,960
Speaker 1: played by Danny Glover. And anytime Danny Glover is in suspenders,

1026
00:56:02,000 --> 00:56:09,960
Speaker 1: watch out. There is nothing good coming. Throw a bow

1027
00:56:10,000 --> 00:56:11,480
Speaker 1: tie in there, and you might as well hand him

1028
00:56:11,719 --> 00:56:12,320
Speaker 1: a machete.

1029
00:56:12,440 --> 00:56:16,320
Speaker 3: Like it is not good. So Harry shows up and

1030
00:56:16,400 --> 00:56:17,239
Speaker 3: his suspenders.

1031
00:56:17,560 --> 00:56:19,600
Speaker 1: They have not seen him in decades, but it's very

1032
00:56:19,719 --> 00:56:24,320
Speaker 1: rural like southern hospitality, and they invite him in vampire style,

1033
00:56:24,719 --> 00:56:28,399
Speaker 1: and what happens, that's right, all hell breaks loose. Charles

1034
00:56:28,440 --> 00:56:30,600
Speaker 1: Burnett has these themes that he plays on in a

1035
00:56:30,600 --> 00:56:34,319
Speaker 1: lot of his films about family and folklore, and this

1036
00:56:34,520 --> 00:56:38,040
Speaker 1: is certainly one of them. So this movie To Sleep

1037
00:56:38,080 --> 00:56:41,960
Speaker 1: with Anger. It won four Independent Spirit Awards for Best Director,

1038
00:56:42,040 --> 00:56:45,439
Speaker 1: Best Screenplay, Best Male Lead for Danny Glover, and Best

1039
00:56:45,440 --> 00:56:49,560
Speaker 1: Supporting Female Leader Cherylie Ralph. Charles Burnett won the National

1040
00:56:49,600 --> 00:56:53,720
Speaker 1: Society of Film Critics Award for Best Screenplay and also

1041
00:56:53,760 --> 00:56:57,160
Speaker 1: the Special Jury Prize at Sundance in nineteen ninety. And

1042
00:56:57,280 --> 00:56:59,560
Speaker 1: what's really cool is that this is not Burnett's first film.

1043
00:56:59,560 --> 00:57:02,200
Speaker 1: As we talk about before, we're not doing any first

1044
00:57:02,200 --> 00:57:07,040
Speaker 1: films for this episode. But Burnett he won a MacArthur

1045
00:57:07,360 --> 00:57:10,640
Speaker 1: Genius Grant in nineteen eighty eight, and when you win those,

1046
00:57:10,680 --> 00:57:13,000
Speaker 1: they give you two hundred and fifty thousand dollars like

1047
00:57:13,080 --> 00:57:15,880
Speaker 1: doled out over five years, and he used that grant

1048
00:57:15,880 --> 00:57:18,520
Speaker 1: to help support his family while he worked on this film.

1049
00:57:19,160 --> 00:57:22,240
Speaker 1: So it's still that very like independent spirit kind of

1050
00:57:22,360 --> 00:57:24,400
Speaker 1: that he's bringing to his films, even though this was

1051
00:57:24,480 --> 00:57:25,280
Speaker 1: one of his first.

1052
00:57:25,120 --> 00:57:26,680
Speaker 3: Big budget kind of movies.

1053
00:57:26,760 --> 00:57:28,720
Speaker 1: Right, I wouldn't even say big budget, but like wide

1054
00:57:28,840 --> 00:57:31,920
Speaker 1: release movies. And you know, Danny Glover was already a

1055
00:57:31,960 --> 00:57:34,080
Speaker 1: star at that point, so it had Eryl Lee, Ralph

1056
00:57:34,120 --> 00:57:36,600
Speaker 1: was a star at that point. It had some real

1057
00:57:37,200 --> 00:57:41,040
Speaker 1: energy like Mary Alice, some great actors who were already established.

1058
00:57:41,800 --> 00:57:45,320
Speaker 1: You also see in this film a little appearance by

1059
00:57:45,560 --> 00:57:52,680
Speaker 1: Raina King, Regina King's sister pro Scrooge second mention of Raina.

1060
00:57:53,120 --> 00:57:55,840
Speaker 3: Can we get Raina King on this show? We had

1061
00:57:55,880 --> 00:57:57,520
Speaker 3: a lot of questions, Let's get Raina King?

1062
00:57:57,640 --> 00:58:00,720
Speaker 1: And Mabel on Well, Mabel sadly passed away, but yeah,

1063
00:58:00,800 --> 00:58:01,520
Speaker 1: I just love that she.

1064
00:58:01,560 --> 00:58:04,600
Speaker 3: Keeps coming up. She's got a good deep bench, that one.

1065
00:58:04,920 --> 00:58:08,920
Speaker 1: So Charles Burnett, he attended the Los Angeles City College

1066
00:58:08,960 --> 00:58:12,080
Speaker 1: to be an electrician. That was his goal, and then

1067
00:58:12,120 --> 00:58:14,560
Speaker 1: he took a writing class and was like, uh, nope.

1068
00:58:14,800 --> 00:58:16,760
Speaker 1: So he actually went on to earn a BA in

1069
00:58:16,800 --> 00:58:20,640
Speaker 1: writing and Languages from UCLA and he got his MFA

1070
00:58:20,920 --> 00:58:23,840
Speaker 1: in Theater, Arts and Film and some of his classmates

1071
00:58:23,840 --> 00:58:27,560
Speaker 1: include Julie Dash and Larry Clark. There's actually a really

1072
00:58:27,560 --> 00:58:30,320
Speaker 1: good video basically if you go on YouTube, there's a

1073
00:58:30,440 --> 00:58:34,360
Speaker 1: video called Creative Process in dialogue and it's Charles Burnett,

1074
00:58:34,480 --> 00:58:37,560
Speaker 1: Julie Dash, and Radford Young talking for about an hour

1075
00:58:37,600 --> 00:58:39,160
Speaker 1: and a half together at.

1076
00:58:39,440 --> 00:58:41,960
Speaker 3: Bard College and it's really really interesting.

1077
00:58:42,360 --> 00:58:44,880
Speaker 1: One thing I love about Charles Burnett I read in

1078
00:58:44,920 --> 00:58:48,320
Speaker 1: an article that came from Wikipedia. Yep, I linked from Wikipedia.

1079
00:58:48,360 --> 00:58:51,200
Speaker 1: I did it again, take my degrees and burn him

1080
00:58:51,200 --> 00:58:55,400
Speaker 1: to the ground. He said he was reluctant to leave

1081
00:58:55,480 --> 00:58:57,960
Speaker 1: college because making a movie in college is so cheap

1082
00:58:58,320 --> 00:59:03,440
Speaker 1: and he had access to likes and tools. Yes, I

1083
00:59:03,520 --> 00:59:05,440
Speaker 1: love it, but he did eventually leave college. He won

1084
00:59:05,520 --> 00:59:08,040
Speaker 1: a Gouggenheim Fellowship in nineteen eighty one. After this is

1085
00:59:08,040 --> 00:59:12,040
Speaker 1: after his first movie, Killer of Sheep came out, and

1086
00:59:12,160 --> 00:59:14,840
Speaker 1: again like he's a big player in this La Rebellion

1087
00:59:15,640 --> 00:59:20,560
Speaker 1: movement because so much of his films are rooted in

1088
00:59:20,640 --> 00:59:24,360
Speaker 1: this mix of politics and class conflict and culture and

1089
00:59:24,440 --> 00:59:28,360
Speaker 1: magic and you know, kind of rural southern black roots.

1090
00:59:28,360 --> 00:59:33,320
Speaker 1: Because he's from Vicksburg, Mississippi to present day modern black families,

1091
00:59:33,440 --> 00:59:34,680
Speaker 1: and it's it's fascinating.

1092
00:59:34,720 --> 00:59:35,480
Speaker 3: It's fascinating.

1093
00:59:35,720 --> 00:59:40,880
Speaker 1: He's alive, he's seventy six, he's still doing great work

1094
00:59:41,200 --> 00:59:42,560
Speaker 1: and just very interesting.

1095
00:59:42,560 --> 00:59:44,840
Speaker 3: He's had a very interesting career and life.

1096
00:59:45,280 --> 00:59:47,080
Speaker 1: And I think I picked this film because this is

1097
00:59:47,120 --> 00:59:50,240
Speaker 1: one of those movies that I've only seen like one

1098
00:59:50,280 --> 00:59:54,160
Speaker 1: and a half times, but when I first saw it,

1099
00:59:54,200 --> 00:59:56,440
Speaker 1: and I like to go back and check myself in

1100
00:59:56,480 --> 00:59:58,480
Speaker 1: this way when I first saw it, because this came

1101
00:59:58,480 --> 01:00:01,040
Speaker 1: out in nineteen ninety, this was one of those movies that,

1102
01:00:01,120 --> 01:00:03,440
Speaker 1: like my grandmother would have rented and put on on

1103
01:00:03,480 --> 01:00:06,200
Speaker 1: like a Sunday afternoon, and I would have started watching

1104
01:00:06,280 --> 01:00:08,600
Speaker 1: it and thought, like, what is this Like, this is

1105
01:00:08,640 --> 01:00:10,520
Speaker 1: just old people from the South talking like I didn't

1106
01:00:10,560 --> 01:00:13,720
Speaker 1: have any appreciation for like my own history at that point.

1107
01:00:14,400 --> 01:00:18,440
Speaker 1: And so I loved watching it with such an intentional

1108
01:00:19,160 --> 01:00:21,959
Speaker 1: lens this time. And I love watching it and kind

1109
01:00:21,960 --> 01:00:24,640
Speaker 1: of remembering some scenes but not being able to place

1110
01:00:24,680 --> 01:00:26,560
Speaker 1: them because I'd never watched you know, I've watched it

1111
01:00:26,720 --> 01:00:29,960
Speaker 1: fleetingly in the background while I was hanging out with

1112
01:00:29,960 --> 01:00:32,440
Speaker 1: my grandma when I was like fifteen. It's a fantastic

1113
01:00:32,480 --> 01:00:35,760
Speaker 1: film top two bottom. It does that kind of like

1114
01:00:35,800 --> 01:00:38,880
Speaker 1: when a stranger calls trope, but it turns it into

1115
01:00:38,920 --> 01:00:41,720
Speaker 1: something so much more sinister because it is so much

1116
01:00:41,800 --> 01:00:42,320
Speaker 1: more subtle.

1117
01:00:42,960 --> 01:00:45,280
Speaker 3: So I really, I really love that.

1118
01:00:46,240 --> 01:00:49,240
Speaker 1: You know, Harry again, Danny Glover, he really plays this

1119
01:00:49,400 --> 01:00:55,600
Speaker 1: kind of like smooth talking evil dude who just way

1120
01:00:55,600 --> 01:00:59,120
Speaker 1: overstays as welcome and is kind of the catalyst for

1121
01:00:59,200 --> 01:01:03,280
Speaker 1: this this family that's already having some strife, you know,

1122
01:01:03,320 --> 01:01:05,840
Speaker 1: like they have, you know, these two sons, and you

1123
01:01:05,880 --> 01:01:07,760
Speaker 1: know how families do, Like one son is kind of

1124
01:01:07,760 --> 01:01:10,440
Speaker 1: considered the harder working son and the other one's lazy,

1125
01:01:10,520 --> 01:01:12,480
Speaker 1: and you know, one daughter in law is favored over

1126
01:01:12,480 --> 01:01:12,800
Speaker 1: the other.

1127
01:01:13,960 --> 01:01:16,160
Speaker 3: So there's already this kind of strife about them.

1128
01:01:16,200 --> 01:01:18,200
Speaker 1: Like you know, they have grandkids and it's about you know,

1129
01:01:18,200 --> 01:01:21,520
Speaker 1: who's taking care of the grandkids. And Danny Glover's character,

1130
01:01:21,600 --> 01:01:24,560
Speaker 1: Harry just kind of exacerbates that with his presence, and

1131
01:01:24,600 --> 01:01:27,400
Speaker 1: he kind of it becomes this interesting mix of like

1132
01:01:27,480 --> 01:01:31,720
Speaker 1: again that magic and folklore sort of storytelling, because he

1133
01:01:31,840 --> 01:01:36,560
Speaker 1: has a very hidden and complicated history that we eventually

1134
01:01:36,600 --> 01:01:39,680
Speaker 1: start teasing out over the shape of the movie. But

1135
01:01:39,960 --> 01:01:42,680
Speaker 1: you kind of it's very intentional that he is the

1136
01:01:42,680 --> 01:01:44,760
Speaker 1: reason why all these bad things start happening to this

1137
01:01:44,800 --> 01:01:47,680
Speaker 1: family and why why all this emotional stuff comes to

1138
01:01:48,840 --> 01:01:51,200
Speaker 1: the surface. So I kind of just I don't know,

1139
01:01:51,240 --> 01:01:53,880
Speaker 1: it's kind of I loved it, Like I love, first

1140
01:01:53,920 --> 01:01:56,800
Speaker 1: of all, looking at things like you know, like remembering

1141
01:01:56,840 --> 01:01:59,640
Speaker 1: the eighties, eighties and nineties, parents will yell right in

1142
01:01:59,640 --> 01:02:01,400
Speaker 1: front of you, like they will have a fight and

1143
01:02:01,440 --> 01:02:03,680
Speaker 1: you will see it, and they're like, we don't care,

1144
01:02:03,760 --> 01:02:06,720
Speaker 1: we'll fight about you. We'll talk about child raising in

1145
01:02:06,720 --> 01:02:08,480
Speaker 1: front of the child, like they will just fight in

1146
01:02:08,480 --> 01:02:11,520
Speaker 1: front of you. But I think that it was very like,

1147
01:02:11,720 --> 01:02:13,600
Speaker 1: I don't know, kind I love the structure of this

1148
01:02:13,680 --> 01:02:16,360
Speaker 1: being about country folks living in the middle of an

1149
01:02:16,400 --> 01:02:17,640
Speaker 1: inner city.

1150
01:02:17,760 --> 01:02:18,320
Speaker 3: I love the.

1151
01:02:18,280 --> 01:02:22,800
Speaker 1: Structure of using like these old Southern kind of platitudes

1152
01:02:22,920 --> 01:02:24,680
Speaker 1: like you know, your your heart is in your left

1153
01:02:24,720 --> 01:02:28,200
Speaker 1: hand is as an insult, you know, the very genteel

1154
01:02:29,160 --> 01:02:32,640
Speaker 1: manners and the way of speaking to people that I

1155
01:02:32,640 --> 01:02:35,680
Speaker 1: think the parents in the film, Gideon who's played by

1156
01:02:35,680 --> 01:02:38,640
Speaker 1: Paul Butler and Susie played by Mary Alice, we're trying

1157
01:02:38,680 --> 01:02:40,760
Speaker 1: to instill in their kids. But you realize, like their

1158
01:02:40,840 --> 01:02:43,600
Speaker 1: kids weren't raised in the same town they were raised in.

1159
01:02:44,040 --> 01:02:47,000
Speaker 1: So you can raise children with your values, but the

1160
01:02:47,040 --> 01:02:48,240
Speaker 1: geography of it matters.

1161
01:02:48,680 --> 01:02:50,760
Speaker 3: So all these little things. And I think that one

1162
01:02:50,760 --> 01:02:51,920
Speaker 3: thing that was really.

1163
01:02:51,640 --> 01:02:54,240
Speaker 1: Fascinating to me and that I really loved a lot,

1164
01:02:54,680 --> 01:02:57,520
Speaker 1: is that when Harry appears, all of a sudden, like

1165
01:02:57,560 --> 01:02:59,920
Speaker 1: all these old friends start crawling out of the woodwork.

1166
01:03:00,080 --> 01:03:02,640
Speaker 1: Oh yeah, and there are some nasty there are some

1167
01:03:02,800 --> 01:03:03,840
Speaker 1: nasty customers in there.

1168
01:03:03,880 --> 01:03:05,840
Speaker 3: There are some hilarious customers in there.

1169
01:03:06,240 --> 01:03:10,200
Speaker 1: But it is just wild what he brings out in

1170
01:03:10,280 --> 01:03:12,840
Speaker 1: people and what comes out of this group of people

1171
01:03:12,880 --> 01:03:16,600
Speaker 1: because of his appearance. And I'm particularly thinking about Hattie,

1172
01:03:17,320 --> 01:03:19,760
Speaker 1: who is a woman that he just kind of terrorizes,

1173
01:03:19,920 --> 01:03:22,280
Speaker 1: like she's an older woman who's been saved, she's a

1174
01:03:22,360 --> 01:03:24,920
Speaker 1: church going lady now, and he keeps bringing up the

1175
01:03:24,920 --> 01:03:27,480
Speaker 1: fact that she was a sex worker, her mother was

1176
01:03:27,480 --> 01:03:30,760
Speaker 1: a sex worker, Like she used to sing these body songs,

1177
01:03:31,200 --> 01:03:33,640
Speaker 1: to the point where Hattie at one point looks at

1178
01:03:33,760 --> 01:03:36,760
Speaker 1: Susie and is like, he is evil. You should poison

1179
01:03:36,840 --> 01:03:40,960
Speaker 1: him peace, Like she just sight up, like there's nothing

1180
01:03:41,000 --> 01:03:44,120
Speaker 1: good about this dude. Whenever he's around, people start dying,

1181
01:03:44,320 --> 01:03:46,160
Speaker 1: like get rid of this motherfucker.

1182
01:03:46,320 --> 01:03:49,360
Speaker 3: She is on it. Hattie is not entertaining him for

1183
01:03:49,440 --> 01:03:49,840
Speaker 3: a second.

1184
01:03:50,520 --> 01:03:50,720
Speaker 2: Yeh.

1185
01:03:50,760 --> 01:03:53,200
Speaker 1: I like movies where they really talk about like seeing

1186
01:03:54,680 --> 01:03:58,640
Speaker 1: seeing black families in a non monolithic structure is always

1187
01:03:58,720 --> 01:04:01,080
Speaker 1: interesting to me. These are middle class people. You know,

1188
01:04:01,160 --> 01:04:03,840
Speaker 1: Susie is a midwife. They get the feeling that Gideon

1189
01:04:03,960 --> 01:04:06,080
Speaker 1: is like retired. They have a beautiful house, they have

1190
01:04:06,680 --> 01:04:09,320
Speaker 1: like a real life together. Their kids are all kind

1191
01:04:09,320 --> 01:04:12,560
Speaker 1: of upwardly mobile, I guess you would say, in that

1192
01:04:12,640 --> 01:04:17,720
Speaker 1: eighties nineties way. But they're really relying on that friction

1193
01:04:18,000 --> 01:04:19,960
Speaker 1: of or Burnette I should say, is really relying on

1194
01:04:20,000 --> 01:04:24,480
Speaker 1: that friction between what we know and where we come

1195
01:04:24,520 --> 01:04:25,640
Speaker 1: from versus where we are.

1196
01:04:25,920 --> 01:04:27,720
Speaker 2: I mean, I have to say, like this is the

1197
01:04:27,720 --> 01:04:32,000
Speaker 2: first time watch for me. I immensely enjoyed it. I

1198
01:04:32,040 --> 01:04:35,560
Speaker 2: loved it so much. And you know, part of what

1199
01:04:35,600 --> 01:04:39,040
Speaker 2: I think is interesting about the Southern platitudes a lot

1200
01:04:39,040 --> 01:04:44,600
Speaker 2: of religious you know, sort of allegorical because honestly, when

1201
01:04:44,600 --> 01:04:47,040
Speaker 2: it comes down to it, if you think about the

1202
01:04:47,080 --> 01:04:51,560
Speaker 2: story in terms of that as an allegory, it seems

1203
01:04:51,560 --> 01:04:56,080
Speaker 2: that like Dana Glover is like the serpent, yes in

1204
01:04:56,120 --> 01:04:58,040
Speaker 2: the Garden of Eden, right, he is the one that

1205
01:04:58,160 --> 01:05:02,360
Speaker 2: comes in and disrupts this entire higher family. And everybody's great,

1206
01:05:02,640 --> 01:05:06,400
Speaker 2: they're raising chickens, they've got you know, everywhere. It's a

1207
01:05:06,440 --> 01:05:12,040
Speaker 2: peaceful existence, and then here comes this motherfucker to disrupt it.

1208
01:05:13,000 --> 01:05:16,480
Speaker 2: And it's interesting because he kind of takes Baby Brother

1209
01:05:17,080 --> 01:05:20,800
Speaker 2: I think that's his nickname in the movie. He's kind

1210
01:05:20,800 --> 01:05:24,040
Speaker 2: of the one you spoke of earlier, where he's the

1211
01:05:24,880 --> 01:05:28,480
Speaker 2: one that's not doing so great, and he is kind

1212
01:05:28,520 --> 01:05:33,640
Speaker 2: of hypnotized by this Danny Glover character and he starts

1213
01:05:33,720 --> 01:05:36,520
Speaker 2: kind of going in these bad directions. And that's what

1214
01:05:36,560 --> 01:05:38,600
Speaker 2: I think is really interesting about just the structure of

1215
01:05:38,640 --> 01:05:41,200
Speaker 2: the movie is it kind of presents that this whole

1216
01:05:41,640 --> 01:05:46,160
Speaker 2: saga is biblical. It feels biblical as part of the

1217
01:05:46,200 --> 01:05:49,720
Speaker 2: folklore or as the storytelling device that Charles Burnett's using.

1218
01:05:49,800 --> 01:05:52,360
Speaker 2: So I mean, I absolutely loved it. I Mean there's

1219
01:05:52,400 --> 01:05:55,520
Speaker 2: so much like old wisdom in there, about like leaving

1220
01:05:55,640 --> 01:05:58,960
Speaker 2: the leaves by the feet to reduce a fever. I mean,

1221
01:05:59,000 --> 01:06:02,280
Speaker 2: I was like, wow, this is real old school Southern

1222
01:06:02,800 --> 01:06:05,640
Speaker 2: like foxfire type of stuff.

1223
01:06:05,680 --> 01:06:10,120
Speaker 1: It was just like cradling a bottle of moonshine or

1224
01:06:10,200 --> 01:06:12,800
Speaker 1: corn liquor as I call it, just wrapping it in

1225
01:06:12,840 --> 01:06:15,160
Speaker 1: a blanket like a baby and cradling it like there's

1226
01:06:15,240 --> 01:06:19,000
Speaker 1: just so so fun having like a fish fry, and

1227
01:06:19,280 --> 01:06:21,800
Speaker 1: I just I really dug it because it wasn't cloying

1228
01:06:22,040 --> 01:06:24,400
Speaker 1: at all, and it was very much you know, this

1229
01:06:24,480 --> 01:06:29,160
Speaker 1: is a reality of family and lineage, and you know,

1230
01:06:29,240 --> 01:06:33,200
Speaker 1: how do you respect both and live in both? Like

1231
01:06:33,200 --> 01:06:36,240
Speaker 1: how do you straddle that world when how you were

1232
01:06:36,320 --> 01:06:39,080
Speaker 1: raised and what your upbringing is is in direct opposition

1233
01:06:39,160 --> 01:06:41,160
Speaker 1: to where you're living and what you're living with and

1234
01:06:41,160 --> 01:06:42,360
Speaker 1: how you're trying to raise people.

1235
01:06:42,520 --> 01:06:43,080
Speaker 3: I loved it.

1236
01:06:43,120 --> 01:06:45,160
Speaker 1: I had a little bit of trauma when I saw

1237
01:06:45,200 --> 01:06:47,400
Speaker 1: that kid in the in the checkered van struggling to

1238
01:06:47,440 --> 01:06:52,000
Speaker 1: play horn, who brought me back to my days when

1239
01:06:52,040 --> 01:06:54,440
Speaker 1: I was in drum corps playing the baritone, trying to

1240
01:06:54,440 --> 01:06:55,440
Speaker 1: practice out back.

1241
01:06:55,560 --> 01:06:58,240
Speaker 3: It was not healthy.

1242
01:07:00,160 --> 01:07:03,640
Speaker 2: To tell you I loved Mary Alice in this movie.

1243
01:07:03,640 --> 01:07:06,800
Speaker 2: She was my favorite character. I cackled when I heard this.

1244
01:07:07,160 --> 01:07:10,000
Speaker 2: One of Danny Glover's weird friends that comes over is

1245
01:07:10,040 --> 01:07:14,160
Speaker 2: this older man who is like, clearly he won't stop

1246
01:07:14,240 --> 01:07:17,320
Speaker 2: hitting on the Mary Alice character even though she's married.

1247
01:07:17,600 --> 01:07:22,760
Speaker 2: And when Gideon suddenly becomes ill and he's upstairs. This

1248
01:07:22,840 --> 01:07:26,640
Speaker 2: guy comes to her kitchen table, sits her down and says, listen,

1249
01:07:26,760 --> 01:07:29,200
Speaker 2: let me just tell you. If something were to happen

1250
01:07:29,240 --> 01:07:32,520
Speaker 2: to your husband upstairs, like you're gonna have to remarry

1251
01:07:32,840 --> 01:07:35,400
Speaker 2: because you can't be by yourself. You're gonna need somebody

1252
01:07:35,400 --> 01:07:37,800
Speaker 2: to come in here and like help you with this house.

1253
01:07:37,880 --> 01:07:40,600
Speaker 2: And I'm just saying, let it be me, I will

1254
01:07:40,720 --> 01:07:43,320
Speaker 2: do it for you. And he's like much older than her,

1255
01:07:43,480 --> 01:07:46,439
Speaker 2: and he's like part of this like creepy group of

1256
01:07:46,560 --> 01:07:50,040
Speaker 2: like weirdos that's hanging out with Danny Glover character, and

1257
01:07:50,080 --> 01:07:54,040
Speaker 2: Mary Alice has the best line and basically she just

1258
01:07:54,120 --> 01:07:57,080
Speaker 2: simply just looks at him and just goes, excuse me,

1259
01:07:58,600 --> 01:08:01,640
Speaker 2: I have to go feed my do and it was

1260
01:08:01,840 --> 01:08:05,040
Speaker 2: like and he's just it's over. And the funniest part

1261
01:08:05,120 --> 01:08:07,920
Speaker 2: is that actually I was like I want that as

1262
01:08:07,920 --> 01:08:10,800
Speaker 2: my ring tone, and I went on Twitter and I

1263
01:08:10,840 --> 01:08:12,480
Speaker 2: was like, can somebody make me that ring tone? And

1264
01:08:12,520 --> 01:08:18,280
Speaker 2: somebody made it a ringte I was like, so now

1265
01:08:18,320 --> 01:08:21,160
Speaker 2: I have that on my phone. Anytime I just want

1266
01:08:21,200 --> 01:08:24,799
Speaker 2: to like end a conversation, I'm just gonna press the button.

1267
01:08:30,080 --> 01:08:34,559
Speaker 2: Fucking cracked up when she said, because there was so

1268
01:08:34,640 --> 01:08:37,439
Speaker 2: many like funny parts of this movie too, just about

1269
01:08:37,840 --> 01:08:39,760
Speaker 2: the whole ending. I won't give it away, but it

1270
01:08:39,880 --> 01:08:43,400
Speaker 2: is very like, oh, it is hilarious, so funny.

1271
01:08:43,479 --> 01:08:48,360
Speaker 1: The way that Harry leaves their life is very funny.

1272
01:08:48,960 --> 01:08:52,400
Speaker 2: And I got to say, like, between these two movies

1273
01:08:52,439 --> 01:08:54,840
Speaker 2: that we picked this week, you know, they're eleven years apart,

1274
01:08:55,200 --> 01:08:58,000
Speaker 2: and they're different there they're from the same place, but

1275
01:08:58,040 --> 01:08:59,120
Speaker 2: they're different.

1276
01:08:58,880 --> 01:09:03,679
Speaker 1: Completely and a really good way to start into that

1277
01:09:04,080 --> 01:09:06,479
Speaker 1: genre if you're interested in La Rebellion. These are two

1278
01:09:06,680 --> 01:09:09,280
Speaker 1: incredible filmmakers to start with. Julie dash Is also a

1279
01:09:09,280 --> 01:09:11,880
Speaker 1: great filmmaker to start with. But yeah, like they do

1280
01:09:11,960 --> 01:09:14,519
Speaker 1: run the gamut, and I love both of these movies

1281
01:09:14,640 --> 01:09:15,000
Speaker 1: a lot.

1282
01:09:15,320 --> 01:09:17,519
Speaker 2: A lot of it is on physical media, so you're

1283
01:09:17,560 --> 01:09:19,720
Speaker 2: gonna probably have to be buying like DVDs and Blu

1284
01:09:19,880 --> 01:09:23,880
Speaker 2: rays because they're not They don't really pop up online

1285
01:09:24,200 --> 01:09:28,120
Speaker 2: a lot. Maybe sometimes like a smaller like a smaller

1286
01:09:29,320 --> 01:09:33,920
Speaker 2: streaming channel like a Canopy or Criterion channel or something

1287
01:09:34,000 --> 01:09:35,880
Speaker 2: like that will have them once in a while, but yeah,

1288
01:09:35,880 --> 01:09:38,679
Speaker 2: for the most part, they'll have to be something you'll

1289
01:09:38,680 --> 01:09:42,840
Speaker 2: have to physically put into a DVD. Player, so and

1290
01:09:42,840 --> 01:09:46,840
Speaker 2: it's worth it prepared, but it's worth it absolutely, absolutely.

1291
01:09:48,000 --> 01:09:50,599
Speaker 3: Excellent. That was great. That was great. Do you want

1292
01:09:50,600 --> 01:09:52,360
Speaker 3: to do the next week's movies?

1293
01:09:53,400 --> 01:09:55,479
Speaker 2: Yeah?

1294
01:09:56,560 --> 01:10:00,920
Speaker 3: So, Millie, as we as we continue our Black History

1295
01:10:00,960 --> 01:10:05,840
Speaker 3: Month celebration, what are our movies next week?

1296
01:10:07,360 --> 01:10:07,559
Speaker 1: Wow?

1297
01:10:09,200 --> 01:10:12,439
Speaker 2: I will say one of them is pretty recent. The

1298
01:10:12,479 --> 01:10:18,439
Speaker 2: movies for next week are Shame from twenty eleven and

1299
01:10:18,600 --> 01:10:20,920
Speaker 2: Lover's Rock from twenty twenty.

1300
01:10:22,200 --> 01:10:25,360
Speaker 1: Guess the theme and the theme is not the director?

1301
01:10:26,240 --> 01:10:30,719
Speaker 1: Guess the theme? Wait, let me cut that out, because

1302
01:10:30,720 --> 01:10:32,800
Speaker 1: that is the director. The theme is not just a

1303
01:10:32,840 --> 01:10:36,080
Speaker 1: director's name. If you know who it is. And where

1304
01:10:36,080 --> 01:10:37,720
Speaker 1: can people find us if they want to look at

1305
01:10:37,720 --> 01:10:40,680
Speaker 1: our incredibly cool social media pages or write us an

1306
01:10:40,720 --> 01:10:41,800
Speaker 1: email showing off.

1307
01:10:41,840 --> 01:10:42,679
Speaker 3: There's cross stitch.

1308
01:10:44,560 --> 01:10:47,799
Speaker 2: If you want to send pictures of your arts and crafts,

1309
01:10:48,400 --> 01:10:51,240
Speaker 2: send them to I Saw What you Did, podtgmail dot com.

1310
01:10:51,600 --> 01:10:54,360
Speaker 2: We're on Instagram and Twitter at I Saw a pod

1311
01:10:54,600 --> 01:10:57,080
Speaker 2: And just to you know, just to like light a

1312
01:10:57,120 --> 01:10:59,800
Speaker 2: little bit of a fuse, Danielle and I are actually

1313
01:10:59,840 --> 01:11:04,000
Speaker 2: think about maybe doing some Instagram lives. So if that's

1314
01:11:04,000 --> 01:11:06,160
Speaker 2: something that you think you'd be interested in, let us know.

1315
01:11:07,120 --> 01:11:10,559
Speaker 2: We're like you know, we're at that point in age

1316
01:11:10,600 --> 01:11:12,479
Speaker 2: too where I'm like, God, is there like a new

1317
01:11:12,520 --> 01:11:15,759
Speaker 2: functionality in all these apps? I don't know. Do people

1318
01:11:15,880 --> 01:11:18,519
Speaker 2: like do Instagram? Is it a TikTok? I don't know.

1319
01:11:18,560 --> 01:11:20,439
Speaker 2: If I want to make a TikTok video, I'll just

1320
01:11:20,439 --> 01:11:21,400
Speaker 2: say that I.

1321
01:11:21,360 --> 01:11:23,080
Speaker 3: Am not doing TikTok for this. Look.

1322
01:11:23,160 --> 01:11:25,080
Speaker 1: I love you and I love this podcast. I'm not

1323
01:11:25,160 --> 01:11:30,679
Speaker 1: joining TikTok for anything. You cannot get me on TikTok.

1324
01:11:31,000 --> 01:11:32,320
Speaker 1: I have too much work to do.

1325
01:11:33,120 --> 01:11:35,559
Speaker 2: Yeah, I'm like, I don't even have it. I don't

1326
01:11:35,600 --> 01:11:37,600
Speaker 2: even know what it is except for, you know, just

1327
01:11:37,640 --> 01:11:40,640
Speaker 2: what people are saying. So yeah, we will probably be

1328
01:11:40,720 --> 01:11:41,960
Speaker 2: on TikTok, but we might do.

1329
01:11:41,920 --> 01:11:44,479
Speaker 1: It ig live so we can figure out ig live.

1330
01:11:44,479 --> 01:11:46,240
Speaker 1: We're both on Instagram. We can figure that part. I

1331
01:11:46,240 --> 01:11:48,920
Speaker 1: think it's just pressing a button at the same time.

1332
01:11:49,400 --> 01:11:51,519
Speaker 2: Maybe Hey, I saw I saw a seventy five year

1333
01:11:51,520 --> 01:11:53,439
Speaker 2: old woman do it the other day, so I feel

1334
01:11:53,479 --> 01:11:54,519
Speaker 2: like we could figure that out.

1335
01:11:54,560 --> 01:12:00,559
Speaker 3: So let's get her tech person call her rom who's

1336
01:12:00,600 --> 01:12:04,800
Speaker 3: your grandson? Help us OUTA Let me take that back,

1337
01:12:04,840 --> 01:12:06,639
Speaker 3: who's your grandchild? Help us out?

1338
01:12:07,360 --> 01:12:09,559
Speaker 2: Yeah? We need all the help we can get but

1339
01:12:09,840 --> 01:12:13,920
Speaker 2: until next week. Thanks for listening. We really appreciate all

1340
01:12:13,920 --> 01:12:14,640
Speaker 2: the feedback.

1341
01:12:15,880 --> 01:12:18,000
Speaker 3: You guys are the best. I love you, I love you.

1342
01:12:19,000 --> 01:12:26,160
Speaker 2: Say you next time. Bye bye.

1343
01:12:26,920 --> 01:12:29,280
Speaker 1: This has been an exactly right production. Our producer is

1344
01:12:29,360 --> 01:12:32,840
Speaker 1: Laura Elizabeth Brown. Our engineer is Analie Nelson. Our social

1345
01:12:32,880 --> 01:12:36,640
Speaker 1: media assistant is Taren Maza. Our theme songs by Tom Bryfogel,

1346
01:12:36,840 --> 01:12:40,320
Speaker 1: artwork by Garrett Ross. Our executive producers are Georgia Hartstark,

1347
01:12:40,439 --> 01:12:43,240
Speaker 1: Karen Coilgareth and Danielle Kramer. You can follow us on

1348
01:12:43,280 --> 01:12:46,479
Speaker 1: Instagram and Twitter at I saw Pod and as always,

1349
01:12:46,520 --> 01:12:50,360
Speaker 1: please listen, subscribe, and leave us a review on Apple podcast,

1350
01:12:50,439 --> 01:12:52,040
Speaker 1: Stitcher or wherever you listen